CHAPTER 1

CHAPTER 2
HISTORY OF GARMENTS
To know about the evolution of anything/event/being is what is known as history. To understand the present and to
plan the future, knowledge of the past is a must. Like other trades in the industry the garment industry also has a
specific history - The history of how the art of cutting and tailoring evolved over the ages. Unlike many other trades
this had a slow but steady evolution over time. In the beginning man was not a social and knowledgeable being, but
as time passed his sense of social science developed and along with it came modern thoughts, knowledge and specific
rules about eating, dressing up his whole philosophy towards life changed and so changed the way mankind dressed
themselves to present their best features to society.
INTRODUCTION TO GARMENTS
The evolution of garments is associated with the different historic periods it passed through. 1. Ancient period 2.
Agricultural period 3. Gupta period 4. Mughal period 5. The British age 6. Modern day.
1.

Ancient period: In the beginning, residing in jungles and not being aware of his sense of shame, man used to roam
around without any covering for his body. But as the earth started to warm/ get cool and mankind realized the
differences in temperature, he started to use the bark of trees, leaves and other natural coverings to protect his
body. But as soon as cultivation started and man discovered other means of clothing, this period came to an end.

2.

Agricultural period: Cultivation of crops led to an increase in awareness of flax and cotton, which gave mankind
the access to fibre and thread.

3.

Gupta period: Knowledge of garments underwent a big change in this period. Cloth was being woven by this time
but stitching was mainly done by hand. Hence loose garments were the norm of the day. There was no knowledge
of button sewing/ button holing, hence tie-ups were used to hold garments together. The popular garments of this
period were - lehenga choli, chogas, with tie-ups for women, lungis etc.

4.

Mughal period: This was a period when India was being invaded by foreign armies. The influence that these
armies brought had many effects on the overall social structure of the country, including garments. The art of
weaving saw an increase in knowledge levels. The art of printing, use of zari and other decorative materials
became popular. This was mainly a mughal influence as the mughals coming from colder regions were used to
wearing tightly knit clothes. This was the age also known as the Golden Age. This period witnessed the
maximum surge in knowledge levels across various fields.

5.

British period: The defeat of the Mughals and the subsequent British rule brought along with it a revolutionary
change in garment technology. They came with superior knowledge and were familiar with machines and technology. Slowly the influence took over the garment industry which also became mechanized as opposed to hand
woven cloth. Mr. Wampun started the trend of a standardized method for taking measurements and drafting
garments according to standard sizes. The methods introduced by Mr. Wampun form the basis of all modern day
garment construction technology and hence he is known as the Father of garment technology. In the year 1866,
Sir Charles II was responsible for introducing the waist coat to the world of fashion. Soon Brugbell evolved this
into the long suit coat. The British period also saw the introduction of specific sports related garments.

6.

Modern day or present day: During the British rule mechanized weaving machines had firmly established
themselves. Indian populace had also started spending a considerable amount of time and money bothering about
the way they dressed and presented themselves to the world. Hence these machines made fabrics and clothes
gained rapidly in popularity due to the ease of obtaining and the speed with which they could be made available.
Looking at way modern day youngsters are becoming more and more conscious about the way they look, garment
and fashion technology is surely one of the more important industries that will see tremendous growth in the years
to come.

CHAPTER 3
KIT FOR PATTERN MAKING AND SEWING
To work efficiently, the patternmaker must have the proper tools and supplies. The following tools should be part of
the pattern making kit.
1. French Curves
2. Pencil & Sharpener
3. Other Pencils & Pens
4. Notcher
5. Tracing Wheel
6. Straight Metre Scale
7. Eraser
8. Weights
9. Marking Chalk
10. Tracing Paper
11. Paper Scissors
12. Fabric Scissors
13. Triangle (Set Square)
14. Hip Curve
15. L Scale
16. Inseam Curve
17. Measuring Tape
18. Oil Pins
19. Scotch Tape
20. Notebook
21. Muslin Cloth
22. Stapler with Pins
23. Board Pins
24. Cutting Table
25. Hand Punch
26. Compass
27. Pattern Paper

: For shaping armholes and necklines and for a variety of other shaping needs
: Necessary for pattern making.
: Use red and black coloured pencils to identify pattern changes. Use felt-tip pens in
green and blue for pattern information.
: Cuts notches on pattern. Indicates guide marks such as seam.allowance, ease and dart
intake.
: Transfers muslin pattern to paper and paper pattern to fabric
: For measure / Measuring on fabric
: Non-dust eraser.
: To hold pattern in place while making or tracing. Anything that.is heavy will do.
: Used for marking fabric.
: To transfer muslin pattern shapes or to make copies of original.patterns.
: To cut paper patterns
: To cut fabrics
: Can be with or without measurements.
: Shapes hip, hem, elbows and lapels.
: For making the patterns
: Shapes inseams
: For measuring form or figure.
: To keep fabrics in place
: To hold the fabric in place
: To make notes
: To check the pattern before making actual garment

: Punches holes for storing patterns

: For drawing circles and arcs

Kit for Sewing

1. Bobbin
2. Machine Sewing Needles
3. Hand Sewing Needles
4. Thimble
5. Seam Opener
6. Thread
7. Oil Pins
8. Measuring Tape
9. Marking Chalk
10. Fabric Scissors
11. Pinking Shears

CHAPTER 4
BASIC STITCHING TOOLS

PICTURE HEADINGS
Hand Machine, Foot Machine, Ordinary scissors, Shears, Marking chalk, Thimble, Hand needles, cruel needle, darning
needle, hand needles.

BASIC STICHING TOOLS

PICTURE HEADINGS
Lshape scale, pin cushion, measuring tape, electric iron, tracing wheel, cutting wheel, thread, Dummy, pressing board,
French curve, shaping scale.

CHAPTER 5
BASIC STITCHES
To stitch a beautiful garment various steps have to be undertaken. After taking measurements and cutting the cloth
accordingly, we need to stitch the various pieces together with the help of different types of stitches. Attaching two
or more pieces of cloth together with the help of a needle and thread, by taking the threaded needle up and down
through two pieces of cloth is what forms a stitch. Care should be taken to thread only a requisite amount of thread
through the needle so that it does not tangle at the time of forming stitches. Like any other profession, tailoring also
has some basic rules and tenets following which is an absolute must, and following are some of these rules:
It is necessary to have knowledge about basic stitches before proceeding to construct a garment because:
a) To make cut pieces of fabric into a garment one has to attach them with the help of stitches like basting.
b) There are various types of fabric available in the market today. To be able to stitch all of them successfully, we need
to hold them together temporarily. For e.g. Nylon cloth, silks etc.
c) At times the basic stitches are used to give a neat finish to the garment like hemming.

TYPES OF STITCHES
TEMPORARY STITCHES
Temporary stitches are those that are used to loosely attach two pieces of cloth to ensure that pieces fit together, darts
are appearing at the right points. These stitches are opened out after stitching the garment. These also help to keep
pieces in places while being stitched. These are of various types, like:
Basting stitch: This is used to join two pieces of cloth together. This helps to keep slippery material in a straight line
together while stitching.
Method: Basting is done using a single thread. After
threading the needle with an appropriate length of
thread, the needle is taken in and out of the two pieces
of cloth at some distance, throughout the required
length.

1a. Even basting: All stitches are of equal length. This is achieved by taking an equal quantity of thread for the
upward as well as downward stitch, at equal distances.
1b. Uneven basting: All the stitches are at varying distance but of the same length, i.e. the length of thread taken for
upward and downward stitch is the same but at different distance from each other.
1c. Zigzag basting: When the cloth is slippery or a lining cloth is to be attached, then this zigzag stitch is used to keep
the two pieces together.
2. THREAD MARKS: This is a type of temporary stitch, which is removed after the garment is stitched. This is used
in situations where you cannot use a pencil or chalk, to mark the cloth. Sewed in a very loose manner, one stitch is
small, and the next one larger, Used mainly on garments where many trials etc are required before final fitting. It is
usually made with a double thread, but is always made on a double layered cloth. The stitches are adjoining to each
other. Made in a loose manner, the needle is taken out from a determined distance and then again inserted in the same
position and then the second stitch taken with a certain looseness in the thread

PERMANENT STITCHES
1. HEMMING: Used on almost every garment. Can be replaced by a simple running stitch also, but to enhance the
beauty of a garment, hemming is used as a most important stitch. This is almost invisible on the right side of the
garment and as very small stitches on the wrong side.
Method: As single thread is put in the needle and a very small margin of the cloth is taken or a single strand taken from
the turned in surface. The needle is passed through the single strand and through the surface of the cloth to give a neat
edge and finishing touch. Used on sleeves, neck, skirts etc.

2. SLIP HEM: Similar to simple hemming but the stitches are taken at a little distant from each other. Its usually used
on slippery materials like silk, nylon etc.
Method: As the name signifies, this stitch is similar to hemming but in a more lateral (slipping) position. Used to
finish cuffs, necklines etc.
3. NARROW HEM: Stitches taken very close together. Usually to finish mens garments like shirts, coats etc. It is
considered to be very strong.
Method: Stitches are put very close together using a single thread. The turned in part is firmly stitched in place
using this method of taking the needle in and out of the turned in and rest of the garment.
4. BLIND HEM: As the name suggests this stitch is almost invisible to the naked eye. It has to be done with great
care to give a neat finish. It is used mainly in mens wear.
Method: The turned in part is so closely stitched to the main body of the garment so as to take only one strand of
thread at a time giving it almost an invisible feel.
5. ROLLED HEM: Used on fine materials. Edging of saris, edges of rills, puff sleeves etc are finished using rolled
hem.
Method : Similar to simple hemming but instead of taking a straight band of cloth as the trend in portion a small edge
is rolled between the thumb and forefinger and the stitch is put on the inside surface.
6. CIRCULAR HEM: A type of hem only, but used on bias cut cloth. When one needs to turn a straight edge on a bias
cloth, it is difficult to do so, that is when this stitch comes in handy. Used on umbrella cut frocks etc. when the edge
of the garment is always cut on bias.
Method: Bias cut cloth is once turned inside used. The amount of cloth to be turned is turned and a temporary stitch
is put in loosely. The thread is then pulled a little to give small gathers. The gathers are then spread out and then
hemmed into place.

7. FINE RUNNING STITCH: One can see only fine dots of this stitch from the right side of the garment. Used mainly
for finishing fine garments like sari edges.
Method: The needle is taken out from a predetermined distance. The place from where the needle comes out, then
determines the point from where a single strand of thread is picked up for the next stitch. The shape of the garment has
to be kept in mind while unraveling this stitch

8. PADDING STITCH: Used to set layers of cloth. It is used mainly in coats.

Method: Put at an angle this stitch resembles a temporary stitch. The first line is taken at a certain angle and in the
next line the angle is in the opposite direction. The stitch seems like it is standing up.
9. SAARJOO: Used in materials where the strands of cloth come out. The garment is not stitched in these cases. Used
in tricot trousers etc. This stitch is usually not opened. It is used to keep allowance in garments.
Method: Used with a single thread in the needle. The needle is taken out at an angle. Stitches are taken at some
distance from each other and kept loose. You should keep in mind that the thread does not come out at the time of
pulling the thread.
10. BACK STITCH: Used to attach two pieces of cloth together, by using a handmade stitch. It has been used since
the time when the machine was not yet in invented. This is believed to have greater flexibility and is very strong. This
stitch can also be used easily on a bias cloth. Most important use is on churidar pajamas, the stitch is different from
its right and wrong side.
Method: A crease is created on the edge of the two pieces of cloth that need to be joined together. A small margin is
taken on top and bottom and small stitches taken close together.
11. BUTTON HOLE: Of utmost importance in the tailoring trade, as it is used on almost all types of garments
ladies, mens and children. There is a need to keep an opening somewhere on the garment for ease of wearing and
taking off. Most of such openings are closed with the help of buttonhole stitches. The button hole is always made on
the top portion. The buttonhole stitch is used to finish the button hole. It is made on two or more layers of cloth. The
button hole has a slight curve on one side known as the fan and an edge on the other known as the bar.
Method: First choose the distance between each button hole. Then keeping the diameter of the button in mind, use
the tip of a scissor to cut holes in the cloth. To ensure that no, loose strands come out finish the edge with a temporary
stitch. Always cut the button hole in the direction of the grain line. Then using a single thread finish the edge with a
buttonhole stitch keeping a little extra tension on the fan side to make a kind of chain stitch is then pressed down
once the buttonhole is finished.
12. HOOK EYE: An opening can be closed with other methods apart from a button and buttonhole. One of these is
the hook and eye. There are hooks of different sizes available to suit different purposes and garments like trousers or
blouses. The hook is usually fixed half a point behind the edge of the belt. This is fixed using the buttonhole stitch.
It is fixed from two edges below and one point above like a bow. The simple hooks are best used with an eye made
from thread by hand, using a button hole stitch. The big hooks used for trousers usually come with a ready made eye
of metal which is also affixed using a buttonhole stitch.
13. PRESS BUTTONS: These are metal buttons with one part having a hole and the other a nail to fit into the hole.
The nail part is always put on the top and the one with the depression on the bottom. This is also affixed using the
button hole stitch.
14. BUTTONS: The various types of buttons available in the market differ in that they have different number of holes
2 or 4. The method for fixing them remains the same. The spot where the button needs to be fixed is determined and
then the needle is taken out first from one and then the other to properly fix the button. There should be a little
looseness in the stitch so that the button can be easily passed through the button hole.

CHAPTER 6
TAKING CARE OF SEWING MACHINE
Parts of Sewing Machine:
It is important for the beginner to know and recognize the different parts of the sewing machine.
Arm

: The horizontal upper part of the head which has the mechanism for handling upper
thread and driving the needle.

Back Stitch Lever

: A lever located at the lower right hand side of the machine and its basic function is
to form the stitches in reverse direction.

Bed

: The lower portion of the machine i.e. stands under which the mechanism for handling
lower thread including the shuttle and feed are mounted.

Bobbin

: A small metal spool that holds the lower thread supply.

Bobbin Case

: The metal case that holds the bobbin. It has the tension spring that controls the
pressure on the bobbin thread.

Bobbin Winder

: It is a simple mechanism for winding the thread on the bobbin and is located at the
right hand side near the wheel.

Feed Dog

: A small metal device under the presser foot which has teeth which carries the
material along as it is stitched. It moves the material forward, by one stitch length,
after each stitch has been drawn.

Hand Wheel

: Handel is located on the right side of the machine. It is driven by hand or belt in the
domestic achine and with the help of belt in the industrial machine. It controls the
movement of the needle bar and drives the machine.

Hand Lifter

: To lift the presser foot by hand.

Head

: The upper part of the machine above the stand. It is a complete sewing machine
without the bed.

Knee Lifter

: To life the presser foot by knee.

Needle Bar

: A bar at the end of which the needle is attached.

Pan

: It is the metal pan under the head that catches oil, lint, broken threads.

Presser Foot

: A foot which is used to hold the fabric while stitching. It is detachable and different
types of foot are available for different functions e.g. zipper foot, plastic foot.

Presser Foot Lifter

: A lever attached to the presser bar to lift up & down the presser foot.

Shuttle

: A device that carries the needle thread around the bobbin and forms the lock on the
lock stitch.

Stitch Regulator

: The length of the stitches is determined by graduation marks on the stitch regulating
screw. As you increase the numbers on regulator the number of stitches per inch
increases i.e. the size of the stitches decreases and vice-versa.

Tension Regulator

: It is a mechanism which controls the tension of upper thread and the quality of
stitches. The tension of the thread is adjusted with the help of spring and nut
which controls the pressure on the disc.

Thread Stand or Spool Pin

: It is a metal rod fitted either on top or on side of the stand to hold the thread
spool.

Thread Take Up Lever

: A bar/lever which is located above the tension regulator. It moves up and down. It
has a hole through which the thread passes. It feeds thread to the needle and it also
tightens loop formed and locks it.

Throat Plate

: A semicircular disc with a hole to allow needle to pass through it and also has
marking in some cases which are used as guidelines while stitching.

10

Straight Stitch Machine

Shuttle System

11

COMMON MACHINE PROBLEMS

The student needs to understand the common problems that may be there while sewing and should be able to rectify
these as they are common and irritating and slow down the sewing process. A person operating the machine should
be able to rectify these and solve the problems.
1. Bobbin
1. Does not wind :
 Make sure the thread is wrapped around the bobbin in proper direction.
 Check to see if bobbin has been placed properly in the winder.
 The rubber ring might be worn out and needs to be replaced.
2.

Winds unevenly :
The thread may not be inserted in the thread guide.
You may be running the machine too fast.
The tension spring may need adjustment.





3.

The Needle moves up and down during winding :

 Needle has not been disengaged

2. Fabric
1. Layers feed unevenly :
 Presser foot pressure incorrect
 May need to stitch slowly
 The fabric may be very light weight use tissue paper while stitching
2.

Does not feed in straight line :

Presser foot may be loose or bent
Pressure of the presser foot may be incorrect
Needle may be bent
There may be a defect in the machine feed
You may be pushing or pulling the fabric







3.

Puckers when stitched :

Many fabrics pucker when stitch in a single layer
The stitch length may be not in correct relation to the fabric type
If the fabric is sheer or light weight, the presser foot tension may need to be regulated
Thread may be too thick
Needle may be coarse
Bobbin thread may be uneven
Stitch tension may be unbalanced
Feed dog may be worn out










4.

5.

Shows feed mark on the underside :

 Presser foot pressure may be too heavy. You may need to put tissue paper between the fabric and the feed
 The feed may be damaged or set too high
Fabric is damaged or holes around the stitches :
Needle may be blunt or too coarse or wrong type for the fabric
Check for the nick in the throat plate, foot or feed




3. Machine
Motor does not run :
1. Cord is not plugged.
2. Power stitch off.
3. Knee or foot accelerator may be jammed or improperly attached to power source.

12

Motor runs but hand wheel does not turn :

Thread or lint may be caught or tangled in the bobbin case area.
Motor runs, hand wheel turns, but needle does not move :
1. The needle may have been disengaged for bobbin winding and not tightened back to sewing position
2. If needle has been tightened but still does not move, the motor belt is slipping because it is loose or worn.
Motor, hand wheel and needle moves but fabric does not feed :
1. Make sure the presser foot is down
2. Check the stitch length regulator
3. The pressure regulator may at the least/ light pressure. If fabric is heavy, more pressure may be necessary for
fabric to feed.
4. The feed dog may be in the lowered or down position
Motor, hand wheel, needle and fabric moves but no stitch is formed :
1. Thread may have come out of the needle.
2. Needle may be threaded in the wrong direction.
3. Needle may be inserted backward or may not be pushed all the way up into the clamp.
4. Needle may be the wrong length for the machine.
5. Machine may be threaded incorrectly
6. Bobbin may be empty
7. Bobbin and / or case may be inserted incorrectly
8. The timing of the machine might be off
Runs sluggishly :
1. Bobbin winder may still be engaged
2. Knee or foot control might be improperly positioned
3. Machine may be in need of oiling and / or cleaning
Runs noisily :
1. Machine probably needs oiling and / or cleaning
2. The needle could be bent and hitting against foot or throat plate
3. Bobbin and / or case may not be tight enough
4. Bobbin may be almost out of thread.
Will not stitch in reverse :
1. If machine is very old, it may not have this capability
2. If it is a recent model, check the stitch control. If may be set for stretch stitch or buttonhole, sometimes
these stitches cannot be reversed manually.
4. Needle
Unthreads :
1. Insufficient thread may have been pulled through the needle before the seam was started
2. Machine may be out of top thread
Breaks :
1. You may be using the incorrect presser foot
2. Presser foot and / or throat plate may be loose or improperly fastened.
3. Needle might have become bent and hit the presser foot and /or throat plate
4. Needle may be incorrectly inserted
5. Needle might be too fine for the fabric being sewed and for the job being done
6. You may have pulled too hard on fabric while stitching
7. Check machine settings.
8. Needle may be defective

13

5. Stitches
Are uneven lengths :
1. You might be pushing or pulling the fabric too much
2. Pressure on the presser foot could be either too light or too heavy for the fabric
3. There could be lint or other clog between the teeth of the feed dog
Have loops between them :
1. If the loops are large, the machine is improperly threaded
2. If loops are small tensions are unbalanced
3. Bobbin may be wound unevenly
4. There may not be enough pressure to hold the fabric taut during stitch formation
Skip here and there :
1. Needle may be blunt or bent
2. Needle may be inserted backward or it might not be all the way up into the clamp
3. There may be insufficient pressure on the presser foot
4. Throat plate may be wrong for the purpose
5. You may be stitching at an uneven speed
6. While stitching, you may be pulling too hard on the fabric

6. Thread
Needle thread breaks :
1. Usually this is caused by the needle being inserted backward or threaded backward
2. Thread may be caught in the spool notch or it could be wrapped around the spindle
3. There may be a rough or burred place on a thread guide
4. The needle may be blunt
5. Needle may not be all the way up into the clamp
6. Needle may be too fine for the thread, causing it to fray-often the case with silk buttonhole twist
Bobbin thread breaks :
1. Bobbin case may not be threaded properly and / or the case not inserted properly
2. Bobbin may be too full
3. Check for dirt or clog in the bobbin case
4. Bobbin tension may be too tight
Bobbin thread cannot be raised through hole in throat plate :
1. Bobbin case may be improperly threaded.
2. It may not have been properly inserted

14

CHAPTER 7
IMPORTANT TERMS FOR CUTTING & TAILORING
1.

BALANCE MARKS: Marks made on the various pieces of the garment to maintain a balance while stitching.
Sometimes the pieces not marked may not be matched properly at the time of stitching giving the garment an odd
shape. Used mainly to keep a balance when joining knees, waist, hip etc. A balanced garment fits well and hence
it is essential to use these marks, even when one has become a master at tailoring.

2.

BALANCE NOTCHES: These are small cuts made at the time of tracing the pattern. Made mainly to mark out
pleats, darts, overlapping. Also used at times to mark the side seams, waist, and knees.

3.

BALANCE MARKING: Points marked with the help of a tracing wheel are known as balance marks. Sometimes
one needs to put the marks on the right side of the fabric, putting these marks with tailor chalk or a marking pencil,
may spoil the cloth. That is when the tracing wheel is used. The tracing wheel can also be used to mark various
layers of cloth at one go for pocket positions etc.

4.

BAGGING: Garments that take the shape of a bag like slacks, pyjamas, which are tight at the knee or elbow. These
are always in the danger of the crease opening at the elbow/knee joint due to movement. A small bag like pouch
is formed at these places, if the garment is too tight. This is known as bagging.

5.

BRIDLE: When the lapel turns outwards in a collar, like in a coat the large fold is cut on bias, and to avoid it
flapping a straight tape is attached at the edge. This is known as the bridle.

6.

LAPEL: When the collar hangs separately from the over lapping and is folded outwards, it is known as lapel.

7.

CUT ON DOUBLE: When the fabric is folded before cutting, it is known as cut on double or on fold. Most parts
of the garment front, sleeve, back are cut in this manner.

8.

LAYING: The fabric is first out spread out properly, without any creases or folds and only then is the pattern traced
out and the fabric cut. The laying of the fabric properly is known as laying.

9.

LAYOUT: To put the different pattern pieces on the cloth is known as layout. This helps in checking if the cloth
is enough or if a patterned cloth has different pieces with matching pattern.

10. CLOSING: Means attaching a means of closing an opening it could be a hook, a button, a zip or a cord.
11. FACING: Finishing an edge of the garment- neckline, armhole, or other opening by attaching a separate piece of
cloth (of same or different fabric). This piece is cut in the same shape as that of the opening.
12. FALSE FACING: A broad strip of cloth attached to an edge and turned inside to finish the edge instead of
hemming is known as false facing. A thinner strip of cloth being attached is known as false hem.
13. DART: Without spoiling the shape of the garment, and in order to give a perfect fit, a small amount of cloth is
folded and stitched with a single strand till the other end. This process is called putting a dart. It is used at various
places on the garment like bust dart, waist dart etc. to give fitting or fullness to shape.
14. FISH DART: This is put at the back in lower body garments like shorts, trousers, slacks. Its shape is like a fish,
hence the name. It takes an angular shape after being put straight for some distance.
15. PLEATS: A fold taken from the inside of a garment and held in place by a stitch is known as a pleat. These are of many
types like straight pleats, inverted pleats etc. These are used either as a design element or to provide fullness or fitting.
16. TUCKS: Folding the cloth a little from the right side and stitching in a straight line is known as putting a tuck.
This is also used to enhance the beauty of the garment or to provide a better fit. If these stitched lines appear of the
thickness of a pin then they are known as pin tucks.
17. VENT: A type of closing which is stitched at the top but open at the bottom. Generally put at the back. The two
pieces of the garment being held together by this seem to overlap each other. The stitch is not visible from outside.
18. SLIT: A type of opening which does not have any overlapping. Used in womens garments like shirts, skirts etc.
19. WELT: Also known as fich. This is a broad band on the pocket of a coat. This is stitched from both sides. A pocket
which has the stitch on the outside is used on shorts, trousers, slacks, T-shirts etc.
20. OPENING: The space kept in the garment for ease of wearing and taking off, generally without any overlapping
is known as opening.

15

21. PLACKET: An opening finished by keeping an overlap is known as a placket. Examples are a frock back or a
kurta neck.
22. STAND OF COLLAR: When the collar is put against the garment and the place where the fold happens-the part
that comes beneath is known as stand of collar. This is the part that touches the neck.
23. FALL OF COLLAR: The part of collar that is attached above the band or the broad part that falls below or
outwards from the band or stand is known as the fall of collar.
24. FLAIR: These are of two types Straight and umbrella cut. The straight flair is attached at the waist by the help
of gathers, tucks or pleats and the part that is left loose is called the flair. Also used to describe lower body
garments which have a big opening at the bottom and no demarcation for knees.
25. GATHERING: Means to put pleats or to gather a piece of cloth by putting a loose running stitch and then pulling
the thread. Look good when used on puff sleeves, skirts, ladies garments and childrens garments according to
fashion.
26. JETTING: When an extra piece of cloth is attached to give strength to a pocket and then to hide this extra piece,
another piece of the same fabric as that of the main garment is attached, then it is known as Jetting.
27. BUTTON STAND: The piece of band on top of which a button is affixed is known as button stand.
28. BUTTON HOLE: The opening made through which a button can be passed is known as button-hole.
29. POCKET STAY: The straight tape attached to the inside of a pocket opening to keep it upright is known as
pocket stay. This tape is the straight selvedge side.
30. YOKE: The part of the garment from the waist upwards, given a particular shape like round, square, triangular and
attached separately is known as yoke.
31. LINING: An extra cloth attached under the main garment is known as lining. Used mainly under transparent
materials, lining gives the garment extra strength as well as finishing.
32. INTER LINING: An extra layer put in between the main garment and the lining is known as inter lining. For e.g.
Buckram, Tetron etc.
33. SHEARING: To shorten a part of a garment, without cutting off the extra piece of material, one can create folds on
the top half and then hide them by attaching a trim like lace, piping, or a cord. This process is known as shearing.
34. SMOCKING: Creating a design on a piece of cloth by first putting loose stitches in straight lines with the help of
a graph paper, pulling gently on the threads and then embroidering over the gathers thus created, is known as
smocking. Used as a decorative stitch.
35. HONEY COMB: A variation of smocking. The amount of material required for this is a little less than that for
smocking. The space between stitches in smocking is a little less, whereas here the distances are greater. Embroidering over the gathers to hold them in place is done here also. This takes the shape of a honey comb upon
finishing.
36. SCYE UP AND SCYE LOWER: Used particularly for coat sleeves. The point where the armhole attaches to the
sleeves to maintain the correct balance of a sleeve is known as scye. The point at the back is known as scye up and
the front part is known as scye lower.
37. INLAYS: The extra cloth kept after the looseness in a garment is known as inlays. This helps in increasing the size
of the garment if so required. .
38. TURNING: The extra margin kept at the edges for turning in and finishing the garment is known as turning.
39. SEAM ALLOWANCE: The margin kept for stitching the garment is known as seam allowance. This means that
after drafting the neck, armhole, waist and chest, about 4cm margin is kept and then another line drawn which is
the stitching guide this is known as the seam allowance.
40. MARGIN: The extra cloth kept apart from the turning is known as margin. This helps to increase the length of a garment.
41. FORE PITCH: The notch kept in the forward arm hole before joining a coat sleeve is known as fore pitch.

16

42. BACK PITCH: The back notch kept for joining the coat sleeve to the armhole is known as back pitch.
43. GORGE: The depth of the neck is known as gorge. This is used to alter either the breadth or the length of the neck.
44. BUTTON NECK: When extra thread is wound around the bottom of the button but above the bad, then it is
known as button neck.
45. SLEEVE HEAD/SLEEVE CROWN: The top portion of the sleeve where the curve happens is also known as the
sleeve crown or sleeve head.
46. TRY/TRIAL/FITTING: When a garment is first fitted on to a dummy to check for fit or tried on the person for
whom it is being stitched before putting in the final stitches, then the process is known by either of these namestry, trial or fitting.
47. DUMMY: A cloth figure made in the shape of a normal human figure is called dummy. This is used to check for
fitting etc.
48. BIAS: A square cloth folded into the shape of a triangle and then cut at an angle to the weave is known as bias.
49. OVER LAPPING: When the cloth of one side of an opening comes over the other, then it known as overlapping.
50. BUTTON HOLE FAN: The rounded edge of a button hole is known as the button hole fan.
51. BUTTON HOLE BAR: The last action at the time of finishing a button hole where the stitch is finished is known
as the button hole bar.
52. SELVEDGE: The finished edge of the cloth which is a self finished edge at the time of weaving is known as selvedge.
53. CREASE EDGE: The edge of a garment created by giving a crease is known as crease edge.
54. PLAIN WEAVE: An ordinary weave with no interwoven designs is known as a plain weave.
55. TWILL WEAVE: When the cloth is woven with a slanted thread to give a self design effect then it known as twill
weave. The right side of this weave is plain and smooth while the wrong side is rough to the touch. E.g. Satin,
Taffeta.
56. PADDING: When an extra pad is inserted in any part of the garment to enhance that part, then it is known as
padding this may be done on the shoulders, bust or hips. This is made using cotton wool or even a sponge.
57. WARP: The lengthwise direction of the thread while weaving is known as warp.
58. WEFT: The breadth wise weave is known as weft.
59. CANVAS: Available in many types like cotton, woolen etc. Used for interlining especially in coats.
60. FORK LINE: The part where the fly is attached in shorts or trousers.
61. SEAT PIECE: The place in a trouser where the two legs meet is joined together using a bias cut piece of cloth
this is known as seat piece. This is attached to give a better fit and to ensure that the seams do not open upon wear
and tear of the garment.
62. BACK PIECE: A 3-4 piece of cloth kept as an extra piece at the back of trousers and attached under the belt.
63. MANIPULATION: When the seat of a trouser is pressed into place after stitching by using a hot iron or steam.
64. TEXTURE: The surface of a cloth is known as texture.
65. BODY RISE: When the crotch breadth is increased in the curved area, the process is known as body rise.
66. PEAK POINT: The neck at the back being raised by about 2 cm to give a better shape and fit to a collar or a band.
67. MASS PRODUCTION: When clothes are produced on a large scale like in a factory, then the process is known as
mass production.
68. PANELS: Strips of cloth joined in a garment for fashion or to increase the width are known as panels.
69. SUPRESSION: A hot iron is used to shrink the cloth in places wherever necessary like a waist in a coat or above
the hip in a trouser etc.

17

70. CROTCH: The part where a lower body garment is joined with a curve is known as crotch.
71. C.P. G: A special measuring tape which allows a tailor to take three/four measurements at the same time.
72. POCKET HANG: A straight band kept above a coat pocket which extends till the shoulder, along the side seam
to avoid the pocket mouth from hanging out, is known as pocket hang.
73. FLAP: An extra piece of cloth attached to the outside of a pocket as a covering for the mouth is known as a flap.
Attached on mens shirt, coat pocket etc.
74. SHOULDER FLAP: A flap attached on top of the shoulder, mostly on shirts of scout or army personnel etc.
Sometimes used as a fashion element also.
75. SEAM: These are of many types. Used to attach two pieces of cloth. To give a piece of cloth the shape of a garment
is the magic of seams. Seams are the basis of a garment. After cutting the various parts of the garment from a piece
of cloth it is these seams either sewn by hand or with the help of a machine which give those various pieces of cloth
the shape of a garment.
76. IRON SPEAKING: A few drops of water sprinkled on the hot surface of an iron to test its readiness to use, turning
to steam and letting out a hissing sound is known as iron speaking.
77. GORE: To increase the flair of a bell bottom, a small triangular piece is joined at the bottom opening. This is a
type of small panel.

18

CHAPTER 8
BASIC RULES OF STITCHING
Before you have complete knowledge of running a sewing machine, it is advisable not to attempt running a sewing
machine. Before threading a needle, before lowering the pressure foot, learn the correct way of putting your feet on the
foot pedal of the sewing machine. Only then start practicing running the sewing machine on a rough piece of cloth or
paper. After you have mastered the correct speed of running the machine, only then you should proceed further.
1.

Sit at a height appropriate enough, so that your feet reach the foot pedal comfortably.

2.

Sit straight while stitching. Do not bend your head over the sewing machine while stitching. Throw light on the
sewing area from your left side.3. Sit in front of the machine in such a manner such that the centre of your body is
in line with the needle.

4.

Place your left foot on the upper edge and right foot on the lower edge of the foot pedal and then start operating
the machine.

5.

Only once you have mastered running the sewing machine smoothly, you should start practicing by running the
needle on a plain piece of paper. There should be no jerks while running the machine.

6.

Before trying your hand for stitching a piece of cloth, you should have adequate practice in running the machine
on a piece of paper, by running the machine over straight lines and curves drawn on a piece of paper.

7.

Take care that you keep fingers away from the pressure foot and needle while the sewing machine is in operation.

8.

You should first familiarize yourself with the technique of threading a machine and only then with running the
machine. The wheel of the machine should always run towards you. Practice running the machine smoothly.

9.

Remember to keep your machine oiled perfectly. For this, you should put one or two drops of oil on all moving
parts everyday. Some people believe in putting a lot of oil on the machine, but this does not serve any purpose,
albeit results in making your sewing cloth messy. It is instead advisable to put only a few drops of oil, but to do it
on a regular basis.

10. The thread from the top and bottom should not hang out more than 10-12 cms or 4-5 inches.
11. After opening a wrong seam wash the cloth so that the holes formed by the needle get closed up.
12. Before beginning to sew a garment, mark out all the pieces carefully and arrange your lining, matching thread and
buttons. These markings should be with tailors chalk on the wrong side of the garment. They will also help to
identify wrong side from right, apart from helping you match the different pieces and seams.
13. Iron all the pieces of the cloth before beginning to sew.
14. You should keep the left and right side of the garment in mind while sewing.
15. The major part of the cloth should be left hanging on the outer, i.e. left side. Keeping the cloth on the right side,
interferes with sewing and also has the danger of the cloth getting entangled in the belt or oil drops soiling the
cloth. The cloth may also fall on the footrest and interfere with sewing.
16. While sewing, never pull the cloth by hand. It should move forward on its own. Pulling the cloth may either tear
the cloth or break the needle.
17. While nearing the end of the stitching edge, slow down the machine gradually or else the seam might slip ahead.
This is not advisable. Moreover, put a double seam near the edge to give more strength.
18. After finishing the seam, raise the pressure foot and cut the thread with a scissors. Do not pull the thread with your
hand.
19. If it is heavy cloth, the stitch length should be longer, similarly if it is fine cloth keep the stitch length short. There
is a stitch regulator in every machine. Study the markings on the regulator carefully and loosen or tighten the
screw accordingly to alter the stitch length. You should alter the thread and needle also according to the thickness
of cloth. To know the relation between needle, thread and cloth, study the accompanying table.
20. Before beginning to sew, keep two/three bobbins filled with thread ready for use, so that work flow does not get
affected if a bobbin finishes.

19

21. Thread should be matching with the cloth and the thread in the bottom bobbin and top should be of the same
shade.
22. If you are using a machine with hand attachment, the machine should be kept at a height of at least 15 to 30 cm (6
to 12 inches). Do not keep the machine on the floor. Always use a stool so that it is easy to move the handle of the
machine. The height should be such so that you do not have to bend over the machine.
23. Keep the machine on a straight surface. Keeping the machine on a rough surface, may cause the parts to be spoiled.
24. After finishing stitching for the day, keep a piece of cloth, in the machine, so that no dust enters the machine.
25. Always loosen the stop motion of the machine after finishing sewing so that no child may run the machine by
mistake.
26. Take care to keep the cloth to be stitched as well as the clothes you are wearing away from the wheel of the foot
machine.
27. There should be more cloth hanging outside and less towards the inside so that no unnecessary creases are formed.
28. If working by hand the cloth should be held between three fingers and your thumb, never between the knees.
29. Always use a thimble, while working by hand, so that it is easier to push the needle and your fingers do not get
spoiled.
30. Hold the needle in your right and cloth in your left hand. The thread in the needle should not be more than 27
inches long. If you need to put a double thread, first fold the thread and then put, do not double the thread once
you have threaded the needle.

20

CHAPTER 9
SEWING MACHINE PRACTICE

LEARN SEWING LIKE THIS

21

LEARN SEWING LIKE THIS

22

LEARN SEWING LIKE THIS

23

LEARN SEWING LIKE THIS

24

LEARN SEWING LIKE THIS

25

CHAPTER10
FABRIC TERMINOLOGY STUDY
Fiber and Yarn
A fiber is the smallest part of a fabric. It is an individual, fine hair-like substance. Fibers are generally grouped and
twisted together into continuous strands, which are called yarns. Yarns are then used to make various materials like
woven fabrics, knitted fabrics, and lace. Fibers can also be used directly to make a fabric without first being made into
yarns. Examples of such fabrics are felt and non-woven fabrics.
Sewing Threads
Sewing threads are special kinds of yarns. They are made in such a way so as to pass through a sewing machine quickly,
so as to form a stitch properly, and to function while in a sewn product without breaking for at least the useful life of
the product. This would depend upon proper thread selection for the chosen fabric
There are several features common to all woven fabrics. Knowledge of these fabric characteristics is needed to
understand fabric structure and suitability in particular uses. These features are as follows:
1. Selvage
2. Grain a) Warp (Lengthwise Grain)
b) Weft (Crosswise Grain)
c) Bias
d) True Bias
3. Face and Back
4. Top and Bottom
1) SELVAGE
The selvedge is a lengthwise edge of any fabric. It generally is to inch wide and exists on both the edges of the cloth.
The main purpose of the selvedge is to ensure that the edge of the fabric does not tear when the cloth is subject to any
kind o stress and strain, during the finishing process. Various techniques are used to make the selvedge stronger than
the main fabric. This includes using heavier warp yarns; more warp yarns per inch, plied warp yarns, greater twist in the
yarns, and use of different weaves. The selvage is easy to identify, since it is constructed differently from the body.
2) GRAIN
Grain is the direction in which the yarn is woven or knit (lengthwise grain or warp, crosswise grain or weft).
a) Warp (Lengthwise Grain)
Yarns parallel with selvage and at right angles to the crosswise grain. It is the strongest grain and drapes best when
perpendicular to the floor. Warp yarns can be distinguished from the weft yarns in the following ways:

Selvage : The warp yarns will always be parallel to the selvage.

Yarn Sizes : The warp yarns will usually be thinner.
Yarns per Inch : There are usually more warp yarns per inch than weft yarns per inch, making the fabric stronger in
the lengthwise direction.

Stretchability : There is generally more stretchability in the widthwise direction.

b) Weft (Crosswise Grain)
Yarns woven across the fabric from selvage to selvage. It is the filling yarn of woven fabrics. Crosswise grain yields to tension.
c) Bias
A slanting or diagonal line cut or sewn across the weave of the cloth.
d) True Bias
The angle line that intersects with the lengthwise and crosswise grains at a 45-degree angle. True bias has maximum
give and stretch, easily conforming to the figures contours. Flares, cowls and drapes work best when cut on true bias.

26

3) FACE AND BACK

Fabrics have a face side and a backside. The face side has a better appearance and usually forms the outside of any
garment. However, sometimes the back of the fabric is used as the outside of a garment for giving a special effect.
Fabrics are generally packed so that the face side is protected during handling and storage. When the fabric is rolled or
folded, the backside generally forms the outer surface of the bolt or roll.
4) TOP AND BOTTOM
Besides having a face and back, some fabrics have a top and bottom on the face side. This is caused generally by the
weave or finish. Fleece, which is a fabric with a long nap, has a top and bottom to the face. It is made into garments with
the nap brushed downwards. In fabrics like velvet and corduroy, the pile is not perfectly erect, but lies at an angle. The
colour may turn from dark to light as the fabric is turned on a flat surface because of the difference in the angle of light
reflection. With fabrics having an obvious top and bottom, the garment must be made with all its parts in the same top
down or bottom down direction.
A fabric with a woven or printed figure in an upright position, however, can be cut in only one direction because in
every piece forming the garment, the figure must be in upright position. Printed fabrics, which can only be used in one
direction, are called directional prints.
WARP & WEFT OF CLOTH
There are many different cloth mills in our country, giving us a variety of designs, differing widths and types of woven
cloth. It is important to buy material according to the type of garment to be stitched.
Width
There are mainly two types of widths available single and double
Single: varies between 29 to 39, for e.g. Poplin.
Double: From 46 to 60 or 102 cm to 152 cm for e.g. silk, drill, denim etc.
Right side of cloth: The right side of a cloth can be recognized from the selvedge (kanni).
There are punch hole marks on this edge of the cloth- the side on which these are in an upwards direction, is generally
the right side of the cloth.
Printed cloth
If you are using a printed cloth with a flowery pattern or uneven design, then always mark and cut the cloth from the
wrong side. Ways of recognising the wrong side of the garment are: a) punch marks b) the print will be slightly lighter.
As soon as you recognise the wrong side of the cloth, put a cross x mark on that side with a marking chalk.
Self design cloth
This is woven using various shades of the same color and/or different thickness of the thread used for weaving. The
wrong side can be recognised by virtue of being brighter.
Corduroy
The weave is such that one can see a raised rib on the right side of the cloth. One also needs to recognise the right way
up for this type of a weave. You should gently rub your hand across the cloth. The direction in which the grains look
like they are sitting should be the downward direction.
Warm cloth
This is always folded with the right side in. It is therefore easy to recognise by its crease marks. Apart from this the
colour and texture of the cloth is also different.
Direction of weave of the cloth determines the lengthwise and breadth wise direction.
At 45degrees the cloth is known as true bias. The entire length is folded across the entire width of a square piece of
cloth, to give a true bias. If it is folded at less than 45degrees then it is not a true bias. Generally garments are cut on the
lengthwise direction of the cloth.

27

CHAPTER 11
NEEDLE AND THREAD
Machine needles are selected according to the weight and other characteristics of the fabric, as well as the thread type
being used for construction. Generally, a needle should be fine enough to penetrate the fabric without damaging it and
yet have an eye, which is big enough so that the thread does not fray or break. Needles come in various sizes, from very
fine (size 9) for lightweight fabrics to thick (size 18) for very heavy weight and dense fabrics.
Needles also come in three different tips/ points:
Regular sharp needle: this is ideal for mostly all woven fabrics because it helps produce even stitching with
minimum puckering.
Ball-point needle: the slightly rounded tip is recommended for all knit fabrics and elastic fabrics as the
needle pushes between the fabric yarns instead of piercing them. Available in sizes 9-16 where the point is
rounded to, in proportion to the needle size, points of larger sizes being more rounded than finer ones.
Wedge point needle: this needle has been specially designed for leather and vinyl, as it easily pierces these
fabrics to make hole that closes back upon itself. This avoids unattractive holes in the garment and also
reduces the risk of stitches tearing the fabric. Available in sizes 11-18, size 11 is used for soft and supple
leather and size 18 being used for heavy or multiple layers of leather.
Needles should be chosen carefully for different fabrics. If a needle is of the wrong size, the machine stitch formation
is affected. If it is too fine the thread might fray. If it is too coarse it may damage the fabric and the stitches will look
imbalanced.
Care should also be taken to ensure that the needle is neither damaged nor dirty. A needle that has a burr on the point,
eye, or the groove may cause the thread to break or fray or even the fabric might get damaged. A blunt or bent needle
can cause a thumping noise in the sewing machine as it penetrates the fabric and may also result in pulling the fabric
or in skipped stitches in the seam lines.
With the wide and ever in creasing range of fabrics available in the market, it is important to know the right sewing
thread for the various types of fabrics. The right kind of thread is important in sewing as the both the thread and the
garment should share the same characteristic, as they have to be laundered and ironed together, they should shrink
and stretch together. In the Chapter Fibres & fabrics (Chapter 14) you will learn the characteristics of various fabrics
and fibres.
Types of threads: The natural fibre threads available in the market are cotton and silk. Cotton thread comes in two
varieties mercerised and unmercerised. Mercerised cotton is stronger and has lustre. Silk thread is an all-purpose
thread and combines strength with elasticity, but is not easily available in India in small spools. It is generally used
for over- lock machines in the industry. The synthetics threads are usually made from polyester and Terylene thread.
This thread is stronger than the natural thread and has an important feature of being elastic, which is particularly
important while stitching knits or Lycra based fabrics. There is tremendous amount of strain on seams in active sports
wear, swimwear or during movement, use of this thread minimises the chance of broken stitching. Synthetic thread is
also useful in stitching of leather as it has a good deal of stretch in it. But cottons or linens should not be stitched with
synthetic thread, as the thread will not be able to with stand the heat while being ironed. Wool and silk should
preferably be stitched either with mercerised cotton or silk threads only. Blended fabrics may be stitched with
synthetic thread suitable to the dominant fibre in its content.
Threads whether natural or synthetic are produced in various thickness: higher the number finer is the thread and
smaller the number coarser is the thread. The threads are available in sizes 30-60. It is important to remember that the
same thread should be used for the bobbin and top spool.
Threads for decorative stitching: For decorative stitching such as saddle stitching, topstitching a special thread called
buttonhole twist (it is also sold in the market as no. 20/30 thread) is used, to emphasis stitching. It may only be used in
spool or bobbin; this is an exception to the rule. Use a 40 size mercerised cotton thread as a companion to it. The yellow
coloured top stitching thread used on denim jeans is a commonly used buttonhole twist thread.
Always choose a thread a shade or two darker than the fabric as in the long run; it will look the same as the fabric
colour. Buy good quality and branded thread even if it is expensive, as it will last longer and be cost effective. Before
one starts sewing, a test of the seam strength should be done on a double scrap of the same fabric, to check if it has
right appearance, correct tension and if it is a pucker-less seam. Puckering will mean that either the needle is not
correct or there are too many stitches per inch. Adjust the tension of the machine and test till one is satisfied. It will
be worth an effort.
Given below is a Table for easy reference of needle sizes, threads and stitches per inch for various fabrics:

28

S. No.

FABRIC

FIBRE

THREAD

NEEDLE

STITCH LENGTH

1.

Fine Woven: lawn,

voile, organdie, silk
chiffon, organza,
crepe de chine,
georgette, fine lace,
tulle

Synthetics &
blends
Cotton & Linen
Wool
Silk

Synthetic 60
Mercerised 50
Mercerised 50/60
Silk

9-11
9-11
9-11
9-11
10/11 ballpoint
for knits and
metallic fabrics

10-15
10-14
10-15

Synthetics &
blends
Cotton & Linen
Wool
Silk

Synthetic 60
Mercerised 50
Mercerised 50/60
Silk

11-14
11-14
11-14
11-14
11-14 ballpoint
for knits and
metallic fabrics
and velveteen.

12-15
10-15
10-14
10-15
10-14

Synthetics &
blends
Cotton
Linen
Wool
Silk

Synthetic 60
Mercerised 50
Mercerised 40
Mercerised 50/60
Silk

11-14
11-14
11-14
11-14
11-14
11-14 ballpoint for
knits and metallic
fabrics

10-12
12-15
12-14
12-14

Synthetics &
blends
Cotton
Linen
Wool
Silk

Synthetic 40
Mercerised 40
Mercerised 40
Mercerised 40/50
Silk

16-18
14-14
14-18
14-16
14-16
14/16 ballpoint for
knits and metallic
fabrics

10-12
10-12
10-12
10-12
10-12
8-12

10-14

Knits: lingerie tricot,

cut velvet
Metallic fabrics
2.

Light weight
Woven: poplin
gingham, silk,
chambray, crepe,
cotton, corduroy,
Knits: jersey, stretch
terry, soft double knits,
soft sweater knits
Metallic fabrics

3.

Medium weight
Woven: silk, brocade,
taffeta, linens, some
denims, tweed,
gaberdine, water
proof fabrics
Knits: double knits,
bonded knits
Metallic fabrics

4.

Heavy weight
Woven: suiting, thick
corduroy, double-faced
wool, denim, canvas,
heavy furnishing
fabrics.
Knits: velour, fleece,
jacquards double knits
Metallic fabrics

10-12

5.

Fine Leather and PVC

Synthetic 40

11 wedge-point for
leather

8-12

6.

Medium Leather

Synthetic 40

14 wedge-point for
leather

8-10

7.

Heavy Leather

Synthetic 30

16 wedge-point for
leather

6-10

29

TOP STITCHING
S. NO.

PROCEDURE & FABRICS NEEDLE

THREAD

1.

Top stitching straight

Woven
Knit
Vinyl

16-18
14/16 ballpoint
16 wedge-point for
leather

Heavy duty cotton wrapped 6-12

polyester thread (normal
bobbin thread)

14-16
14/16 ballpoint

Heavy duty cotton

wrapped polyester thread
(normal bobbin thread

2.

Top stitching zigzag

Woven
Knit

30

STITCH LENGTH

8-12 (length)
2-4 (width)

CHAPTER 12
DECORATIVE ITEMS USED FOR SEWING
Trims enhance the garment appearance. Trims are generally decided by the fashion trend. As they help in creating an
effective look with very less effort. Trims such as ribbons, braids, laces, and other narrow fabric trims are widely used
to adorn kids wear, night wear, lingerie etc. These help in creating a soft look in the garment and without too much
effort makes it look dressy.

A garment is not only made from the apparel fabric but also various accessory items form part of it. These have to be
chosen in such a manner, that they compliment the garment both aesthetically, in terms of decoration, and practically,
in terms of ensuring that the garment performs as expected in its intended end use. There are a large variety of trims
available in the market. They can be broadly divided into two categories Functional trims and Decorative trims.
Functional trims are those which have a definitive purpose like closures, edge finishes but they might work as
decorative trims, like buttons on the side of the jacket sleeve. The decorative trims are for embellishment only, like
laces, ribbons, braids etc. There are trims that one can buy in the market and there are trims that can be made at home
by an individual.
The type of trim and the amount of trim used would depend on current trends in fashion, cost of the garment and
individual taste. Although a trim generally enhances the garment appearance but a trim that ravels, falls off, shrinks,
fades, bleeds or discolours ruins the entire outfit. Hence one has to be very careful in selecting and in purchasing the
trim. One must always go in for the trims that match with the basic characteristic of the fabric, which is being used for
the garment. Like one must never use a cotton lace on a polyester garment as they do not have matching ironing
temperatures.
There are trims that can be glued on and there are trims that can be stitched on the garments. The first variety is not
readily available in the market. There are trims that are attached by hand to achieve a softer look, especially the old
laces which need to be attached with invisible seams.
The various types of trims available in the market have been described in detail.
The Trims and their uses:
Laces: Lace is a narrow lace fabric (in contrast to the all over lace fabric from which whole garments are constructed).
Lace can be very expensive, depending on its fibre content, intricacy and complexity, width and if it is gathered,
fullness.
Some of the popular laces are:

Insertion lace: a flat lace trim that has two finished sides. It is inserted between two edges.

Gallon lace: a flat lace that has two scalloped edges

Edge lace: Any lace with one scalloped edge and one straight edge.

Ribbon pass lace: any lace trim through which a ribbon is threaded.

Medallion: any individual lace motif, for example an appliqu, collar or a cuff.

Embroidered Lace: a lace that has embroidered edge on it.

31

Braids: Intertwining a set of yarns according to definite pattern forms braids. Braids are used on womens wear and
children wear and sometimes are also used on uniforms as decorations. They are top stitched on the garment and are
also used on accessories like Pea Caps. Broader braids are occasionally used as belts. Some of the popular braids are:
 Loop Braid: a braid that consists of many loops
 Scrolling: a wavy braid
 Gimp Braid: a complex highly decorative braid made from a cord used to decorate a high price jacket.
 Rickrack: a zigzag shaped trim used chiefly on kids wear, it can be edge stitched and also inserted. Broad
rickrack is called Jumbo rickrack and narrow one is baby rickrack.
Ribbons: Ribbon is a narrow, woven fabric used as a trim and to make ties and bows. It is available in a variety of
widths ranging from 1/8th of an inch to 6" wide. Ribbons that feel papery and crease when folded is cheaper, inexpensive
and of low quality. They do not last long, so should be carefully chosen. Ribbons can be top stitched, passed through
a ribbon pass lace, or used as edge finish inside knits, or even at hems. Types of Ribbons available are:
 Grosgrain ribbon (pronounced as growgrain): has a dull ribbed appearance. It can be used as a decoration
or as facing inside a button placket in a cardigan.
 Satin Ribbon: is shiny and smooth and is made using satin weave.
 Velvet Ribbon has a soft smooth, three-dimensional pile surface.
 Novelty ribbon is made with unusual design and weaves.
Fringes: Fringe is a trim that has dangling yarns .It is usually attached as an edge finish and is commonly used on
duppattas, scarves and on upholstery.
Shimmy fringe: A shinny fringe that moves when the wearer moves.
Kiran: A fringe made with metallic yarn widely used in Indian bridal and trousseau wear.
Tassel fringe: Groups of fringes tied together into tassels at intervals. Used in upholstery.

Twill tapes: A twill weave tape used to trim casual garments and also to reinforce seams in knits. Other common tapes
are seam tape or hem tape, which has a smooth ribbon like finish, used to finish inner seam and hems. Bias tape are
bias cut fabric might be in contrasting colours used as decorative binding both inside and outside the garment.

32

Appliqus: are decorative patches applied to the garment. They are generally die cut from fusible fabrics may be
embroidered. They can be ironed on and then permanently stitched. These can be in the form of emblems for school
/college uniforms. As decorations on armed forces uniforms or even be ornamental motifs for kids wear. These can be
Zari motifs for formal wear.
The following are non-fabric trims that are available in the market:
Beads: can be cylindrical called bugle (Nalki) or round called seed (Moti Dana). These are embroidered on to the
formal wear as motifs or spread over as individual pieces on the garment. Nowadays, rhinestones are also very popular
on garments. In past royal families used to wear clothes with real pearls and stones including diamonds embroidered
on their clothes but today only very high fashion and very expensive garments have real pearls, most of the
ornamentations used today are in plastic or glass. Swaroski crystals are also becoming increasingly popular in India
they are not real diamonds but are quiet expensive; these can be stitched or ironed on to the garments.
Sequins: can be shinny or in matt finish, can be flat or slightly three-dimensional. These are also embroidered on to
the garments.
Studs and rivets: are metallic may or may not be studded with stones, popularly used on jeans, bags, belts, leather
jackets, shoes etc. they are simply attached by fitting the two pieces together with a stud gun, or can be nailed into the
garment. A wide variety of designs are available in the market.
Feathers: not very popular in India, but are quiet in demand in European countries both the real ones as well as fake
ones. They are attached on garments as embellishments.
Closures: are the fasteners that secure garment openings. Closures unfasten to enlarge the garment and fasten to make
the garment fit the body. There is a wide variety of closures readily available in the market. Closures include Buttons,
Zippers, Snaps, Hooks and Eyes and other fasteners. To a certain extent, tradition governs the use of particular fastener
in a garment. For example formal shirts for men will always have buttons, whereas technically there is nothing wrong
in using zippers for the same.
Buttons: have widely been used as garment closure from the middle Ages. Most buttons have dual functions in the
garment of being functional closure and a decorative detail. However, some buttons inside a concealed placket, or
inside a double-breasted garment are completely functional. But, buttons on the side of jacket sleeve are completely
decorative. There are several other examples of decorative button usage in kids wear, and womens wear.
Buttons are made in several materials like plastic, wood, shell, nylon, animal horn, leather, nuts, beads, glass, fabric and
metal etc. The plastic buttons are more popular than in natural materials as they are more uniform than in natural material
and are cheaper too. Plastic buttons often imitate the one in natural material.
Polyester Buttons are resistant to heat and dry-cleaning. They are produced in large quantities for all kinds of clothing.
Nylon Buttons are made in large number of shapes and in a wide variety of colours.
Metal buttons are made in brass, nickel and aluminum with an engraved or stamped face. Used for blazers, jeans and
jackets etc.
Leather or leather like buttons are sensitive to moisture and abrasion. Used mostly in apparel made of leather and
sports jackets.

33

Wood button are made from variety of wood, are lightweight and sensitive to heat. Traditionally used in Gujarat and
Rajasthan for Indian wear are also used in knitted jackets.
Mother of pearl or shells buttons are made from mussel shell, with their uneven and beautiful surface are very
expensive decorative buttons. Traditionally used for western Bridal wear and lingerie.
Before selecting the appropriate buttons for the garment care should be taken to insure that if the garment requires
ironing, it should have heatproof buttons. The appropriate number of buttons on a garment depends upon the size of
the button and fit of the garment. Garments designed to fit the body loosely requires fewer buttons than a garment
closely conforming to the body, since the latter requires closely spaced buttons to prevent the garment from gaping.
An example of this is that 6"fly opening of jeans requires the same number of buttons as an 18" front of a loose shirt.
Buttons either have holes on the top called eyes or have a loop at the back called shank; these are meant for attaching
the button to a garment. The eyed buttons have either two or four holes. Shank buttons have a stem of plastic, metal
or cloth built into it. Shank buttons are more bulky than eyed buttons.

Button loops: are used in some garments instead of buttonhole to fasten the garment. In these garments two sides of
the placket do not overlap. These loops can be made of tubes of bias fabric; strips of cording; braid, elastic or thread
chains. Sometimes buttons too are made of fabric or cord that has been elaborately knotted.
Zippers are fast easy means of getting in and out of garments. They have been widely used in garments in the west
since 1930s but have come to India at a much later date. They are continuing to grow much lighter, more supple and
less obvious with the advent of new technology. Zippers are usually more smooth and comfortable to lean on than
buttons, so they are preferred to buttons for back open garments. Zippers close the garment completely, so they are
preferred to buttons in closer fitting garments. However, for decorative purpose the buttons are still preferred over
zippers being more decorative and that has a wider variety to provide larger choice.
Zippers are available as:
Plastic zipper the teeth of the zipper are made of plastic.
Metallic zipper the teeth of the zipper are made of metal.
Invisible zipper cannot be seen after it is attached on the garment.
Separate zipper is the one where two sides of the zipper get separated and can be easily put together by the wearer.
These are used in front open jackets or any garment where two sides of the garment have to be separated for the
garment to be easily worn.
Double slider Zipper is the one with two sliders that can be opened from both top and bottom.
Zipper slider is the piece that glides up and down. The slider or pull is usually plain but occasionally these come as
decorative details. Mostly all the zippers have lock mechanism, either it is automatic or the wearer may need to pull
the tab flat down to engage it.
Snap Fasteners: are of two types one is called the sewn on variety that is stitched on the garment popularly known
as Tich buttons, they have holes in them with which they are attached on lightweight fabrics. The other type is called
mechanically attached variety that is used on medium to heavy weight fabrics. Mechanically attached ones have two
parts for each side of the button, where one piece goes inside the fabric and second goes on top and these are attached
with help of a press machine.

34

Hooks and Eyes: consist of two parts, a hook and an eye (which can be made of thread/ can also be of metal). Hooks
and eye offer the advantage of being small and easy to conceal but can carry a heavy stress load. A hook and eye
closure is stronger than snap closure of similar type. Hooks and eyes should be used in area of heavy strain. The
majority of hooks and eye closure are concealed closures but visible hooks are used in bras and some sports wear.
Hooks and eyes come in various sizes and are chosen depending on the areas of strain and the weight of the garment.
Buckles used in waistbands of skirts and trousers are also on the same principle of hook and eye and are part of the
same family.

Hook and loop tape: popularly known as Velcro tape is a ready-made tape that is in two parts that stick to each
other on the same principle as the burr from plants that stick to your clothing after a walk in the woods after rain. It
is based on the principle of hook and loop. The part that is hook is scratchy and the loop is softer. The tape closes
when pressed together and to open one has to pull it apart. It is a very functional closure for easily fitted garments,
pocket flaps, especially on sports wear and heavy winter jackets. It is very convenient on smaller children clothing
or people who have difficulty in fastening the closures that require lot of effort. A major disadvantage of the hook
and loop tape is that it adds considerable stiffness and bulk to the garment and hence is incompatible with the soft
and lightweight fabrics. On the other hand it is a boon for people with arthritis and other disabilities.
Other miscellaneous closures are belt buckles that come in various materials, shapes and sizes; cord and ties commonly
used in infant clothing and upholstery.
The Trims one can make on the machine are:

Piping- in same colour or contrasting colour fabric cut on bias.

Tucks- commonly used ones are like pin, space, broad and scalloped tucks.

Frills- gathered strip of same fabric or different fabric or lace attached as a decorative or functional piece.

Pleats- several kinds of pleats are added to garments providing fullness as well as for design detail, like knife
pleats, box pleats, inverted box pleat to name a few.

Decorative top stitching- done on top of a seam to highlight, it is both decorative and functional as apart from
visual appeal it provides strength to the seam. It can be done with same colour or in a contrasting colour in
straight stitches or in variety of stitches that may be offered as attachments by the manufacturer of sewing
machine.

Edge stitching- same as decorative stitching.

Embroidery- can be done with hand or machine in variety of placements, colours, threads and motifs that is
primarily done for visual appeal.

Monograms- same as embroidery.

Cut work- same as embroidery but has cut out pieces in the motifs:
The above list is only indicative and is basically there to make the sewing enthusiast start taking the initiative and
exploring.

35

CHAPTER 13
METHODS AND SEQUENCE FOR MEASURMENT TAKING
Care should be taken to take accurate measurements in order to achieve a good fit. It is extremely important to
understand the dress form before starting to take dress form measurements. One should carefully observe the shape of
the body, where it is hollow, how shoulder slopes etc.

Measurements
1.

Front length

2.
3.
4.

Centre front length

Shoulder to waistline
Underarm seam

Shoulder neck intersection to waistline over the bust, take care to

measure
with a hand under the bust.
- Centre front neck intersection to centre front waist intersection.
- Shoulder tip to side seam waistline intersection (over the sides)
- From a point X, 1" below the armhole to waistline intersection at the side seam.

5.

Shoulder length

From shoulder neck intersection to princess line and from princess line to shoulder
tip.

6.

Width of bust

Width of bust measurement is from centre front over the bust to point X on side
seam.

7.

Front waistline

From centre front waistline intersection to side seam waistline Intersection.

36

8.

Front hipline -Place a pin at 7" below the waistline on centre front line. Using this measurement from floor up
mark it horizontally on the dress form continuing to centre back (keeping it uniform throughout). Put a style
tape for reference and call it hip line. On this line measure centre front intersection to side seam intersection.

9.
Apex measurement
10. Centre Front to the
Princess line

From the centre front to the high bust point keeping the tape parallel to the floor.

From centre front intersection to princess line intersection at waistline.

11. Shoulder blade

Mark a point Y on centre back such that, centre back neck intersection to point
Y is equal to 1/4th of centre back length. Shoulder blade measurement is taken
from point Y to armhole ridge keeping the tape parallel to the floor.

12. Width of back

From point X to centre back keeping the tape parallel to the floor.

37

13. Back waistline

From centre back waistline intersection to side seam waistline intersection.

14. Back hip line

From centre back intersection to side seam intersection on hip line.

15. Centre Back length

From centre back neck intersection to centre back waistline intersection.

16. Centre back to

From centre back intersection to princess line intersection at the Princess Line
waistline.

17. Centre Front length for

lower garment

From centre front waistline intersection at centre front down to the desired
length.

18. Centre Back length for

lower garment

From centre back waistline intersection at centre back down to the desired
length.

19. Side Seam Length

From waistline intersection at side seam over the hip to ankle.

Place an L-square between legs of form and note the measurement at waistline.

20. Crotch depth

(a)

On dress form

This measurement includes 1 " ease as the L-square is generally 1 wide.

(b)

On body

In seated position, measure from waistline intersection at side seam over the
figure to the seat of the chair. (One needs to add ease here.)

38

21. Knee Circumference

Round measurement over the knee bone.

22. Ankle Circumference

Round measurement over the ankle bone.

23. Cap height

Tie a tape around the biceps of arm close to the armpit. Cap height is from
shoulder intersection to the top of the tape.

24. Sleeve length

From shoulder intersection over the bent elbow to the wrist.

25. Bicep Circumference

Round measurement over the fullest part of the arm.

26. Elbow Circumference

Round measurement over the elbow.

27. Wrist Circumference

Round measurement over the wrist bone.

39

WOMENS SIZE CHART

SIZE : MEDIUM

S.NO.

SPECIFICATIONS

MEASUREMENTS (in Inches)

Chest

36

Waist

28

Shoulder

15

Half Sleeve Length

Half Sleeve Girth

12

Full Sleeve Length

21

Full Sleeve Girth

10

Salwar Length

41

Salwar Bottom Opening

13

10

Hip

37

11

Trouser Length

42

12

Round Neck

15

13

Waist Level from Shoulder

15

14

Crotch

10

15

Knee

21

40

MENS SIZE CHART

SIZE : MEDIUM

S.NO.

SPECIFICATIONS

MEASUREMENTS (in Inches)

Chest

38

Waist

32

Shoulder

19

Half Sleeve Length

Full Sleeve Length

24

Waist Level from Shoulder

18

Round Neck

16

Half Sleeve Opening

Full Sleeve Opening

10

Hips

36

11

Total Trouser Length

42

12

Trouser Bottom Opening

18

13

Churidar Bottom Opening

12

14

Pajama Bottom Opening

16

15

Crotch

11

16

Knee

22

41

SIZE CHART FOR KIDS (IN INCHES)

AGE

3-9
MNTS

1
YR

2
YR

3
YRS

4
YRS

5
YRS

6
YRS

7
YRS

8
YRS

10
YRS

CHEST

19

20

21

22

23

24

24

25

26

28

WAIST

19

19 -20

20-21

21

22

23

24

24

25

26

CROSS
BACK

10

10

11

11

12

WAIST
LENGTH 6

10

10

11

11

12

SHORT
SLEEVE
LENGTH 2

LONG
SLEEVE
LENGTH 6

11

11

12

12

13

FINISHED
DRESS
LENGTH 14

15

17

19

21

22

23

24

25

27

42

SEAM ALLOWANCES
Collar: 2 piece collar-" all side
Chinese collar-1/4" all side
Arm hole: " on the curve
Placket: "-1/2"
Hemming: " 2"
Sleeve: " on the curve and 1" on the under arm seam
Sleeve Hem: without cuff: "-1"
With cuff: "
Cuff: "
Pocket Body: 1/2"
Upper: "
Flap: "
Side seam: 1/2" 1"
Yoke: "
Patch: "
FOR THE BOTTOM
Waist band: "
Fly: "
Side seam: "-1"
In seam: "
Hemming: "-1"
Pocket: "-1/2"
Patch: 1/2"
Divider flap: 1"

NOTE:
-To join two pieces, always keep " seam allowance
-Keep " extra allowance for over-lock.
-For finishing the side seam keep " seam allowance.

43

CHAPTER 14
MEASUREMENT FROM A GARMENT
Measurements that are needed for a pattern and how to take measurements properly have been covered in another
topic. In this, one is going to learn to measure and draft a pattern from an existing garment. This requires a person to
have the ability to measure correctly and accurately on a body and dress form. This is an advance skill and requires
thorough knowledge of pattern development, as it is essential to understand the importance of the crucial areas. The
higher skill is needed to be able to measure the flat fabric that has been converted into a three dimensional body.
Why do we need to measure an old / existing garment?
One may have a favourite shirt or a well-fitted sari blouse or any other garment, and that one has not been able to
replicate or find the same fit again. The same fit has never been achieved; this may be due to a well-adjusted pattern
or fitting or a different method of pattern drafting of the original garment. Another case may be that the person is
unable to personally to give measurements and sends a garment as a sample. In any case the garment has to be
measured for the purpose of getting the measurements.
There are two methods that can be followed to accomplish this:
1.

Tracing the garment: If it is an old garment, and one has not achieved sufficient level of proficiency in pattern
making then it is advisable to open the garment very carefully, with the help of seam ripper and separate each
individual piece of the garment, at seams, darts, pleats and other types of fullness taking care so as not to tear
of any seam allowance. All the seams like princess seam, yoke seam, darts or panels should also be opened. The
pockets or decorations if any should be removed.

The separate pieces should be then carefully labelled and grain lines marked specially in case, pieces that need to be
cut on Bias grain as in the case of Choli blouse, where the two front piece are always cut on bias for a better Fit. Use
these cut-apart-sections as guide for your new pattern. The garment should be copied on muslin as an intermediate
step and then transferred on thick pattern making paper. The garment should be well ironed before starting the
procedure.

All the pieces should be cut on the same grain as the original piece; hence the grain of the pieces should be marked
on the sketch as this will ensure that the garment has the same fall as the original.
It is worth the effort to carefully mark out the seam allowances, hemline folds and turn-backs like self-facings with
tailors chalk. In case of a style, that one may want to make repeats of or that is to be cut on an expensive or a slippery
fabric, then these allowances should be thread traced. Thread tracing is with basting stitches a seam allowance is
marked, this is the permanent method of marking seam lines. This is generally done for silk fabrics or fabrics on which
tailors chalk does not show.
Place marks at top of the sleeve and underarm seams, at the front and back armholes of sleeve and bodice and the
corresponding notches of both sleeve and bodice this point would be where the curve changes from over arm to
underarm.

44

Mark placement of buttonholes, buttons, pockets, points at which collars and cuff joins the garment. Mark any other
garment detail that might be there.
The pieces then should be laid out on the fabric in the same manner as one would layout a paper pattern. Remember
to do it with least wastage, pieces should be laid out together in such a manner that they fit within the confines of the
fabric width as closely and efficiently as possible. For a more efficient and professional approach the same should be
first traced on the thick pattern making paper and a muslin test fit done before one proceeds on the final fabric.
Remember this pattern has all the seam allowance and sufficient ease has been added to it. Hence, there is no need of
adding any ease or allowance for stitching.
2.

Drape the garment method: A similar method is followed as the one for tracing the garment. This requires an
additional skill of draping the garments. In this method each section of the garment is copied. Cut a piece of
muslin larger than the part to be copied. Straighten the lengthwise and crosswise grains of the muslin. Place the
lengthwise grain on the right side of the length of the garment like centre front or back and p Pin in any darts,
tucks, pleats or other fullness by the same amount that may be there in the garment and also in the same
position. Locate and place a row of pins on all seam lines and edges. Mark the position of the buttonholes,
buttons, plackets, collars and any other design detail that may be there. Mark the grain. Transfer all the seam
lines, darts and others that are pinned with marking chalk or tailors chalk. When all the lines are in place, unpin
the muslin from the garment. True the straight lines and curved lines with appropriate tools like ruler, French
curve or hip curve. Add seam and hem allowances. Transfer the corrected muslin to paper. Place an identifying
mark on each pattern piece.

3.

Measurement Method: If the garment is a sample and cannot be opened out in separate pieces then one has to
measure it carefully and measurements are to be recorded in the same manner, as one would measure the body
or dress form. It is of paramount importance to do it in a systematic and careful manner. All the length-wise
measurements should be recorded first and width-wise measurements be recorded next in order.

The length wise measurements that are needed to be measured are the maximum length of the garment, neck to waist,
shoulder to neck depth, dart points if any, centre front length, centre back length, waist length if it is required, waist
to hip measurement if required, hip to hem, for trousers inner leg seam and seat length are also required. For the sleeve
measure, sleeve length, sleeve cap, cuff length or hem fold if required.

The width wise measurements that are needed to be measured are the maximum width of the garment (whichever part
of the garment it may be), Shoulder length, cross back, neck width, armhole to armhole measurement, front width,
back width, front waist, back waist, front hip, back hip, front hem, back hem, dart lengths, dart widths, for trousers
measure width at crotch level, knee level and hem. For sleeves measure sleeve width at bicep, elbow and wrist.

45

One may choose to make the pattern from any method the important points that one would need to keep in mind
while taking measurements are as follows:
1. The measurements required should be carefully noted. A list should be prepared before one begins to
measure the garment so that, none of the required measurements is left out.
2.

Lay the garment on a flat surface; check whether the garment is flat or three-dimensional.
a)
If the garment is flat, proceed, as you would have done on a body, as these garments do not have
additional focal points.
b)

If the garment is three-dimensional then check where the garment has the third dimension;
e.g. thebust point in a close fitted blouse. If one is to measure the width of the front, start on the
side seam, measure till the bust point and then measure across to the centre front, remember to
hold the garment in such a manner that one does not loose out the third dimension of the blouse.
A simple method to ensure this is to hold the garment in hand and then measure the garment.
The lengthwise measurement over a focal point is also taken in the same manner. If one is
areless the measurement would be shorter and the garment would never fit the intended wearer.

3. Note the number of individual pieces in the garment. A beginner should always make a little sketch and
mark the pieces and number them, so as to remember all the pieces and the sketch would ensure at the time
of cross checking if all the pieces have been cut.
4. Check if the garment is symmetrical or asymmetrical, i.e. is the garment identical on two sides of centre
front and centre back. If it is symmetrical it is possible to cut it on the fold with only one piece each for
front, back and sleeve. If it is asymmetrical then check the number of front, back or sleeves that may be
required and make a note of them.
5. Note the number of lengthwise panels that may be there. Compare it with design that you are working on
if it is identical or are there changes in the new design. In case of any variation note the changes that may
require any alteration in the measurements, e.g. a sample piece might have princess panels running through
the bodice, but the new garment may not have them, then one needs to add the measurements of the two or
three panels to get the final measurement for the new design. Make a note of these changes and ensure that
one makes least amount of mistakes as possible.

6. A princess bodice may have a dart that has been converted into a seam; this requires a trained eye to
decipher the pattern manipulation that may have been done to achieve the fit of the sample garment. In
case a princess seam is there measure the width of the garment at several points like starting of the panel, at
the bust point level where the body is fullest, at the waist level, at the hip level and also at about 31/2" below
the bust. This is the point at which the dart is maximum for the under bust shaping especially in very close
fitted garments, like contoured garments.

46

7. Note the number of width wise panels that may be there. Compare it with design that you are working on if
it is identical or are there changes in the new design. In case of any variation note the changes that may
require any alteration in the measurements follow as for the above, e.g. if the sample garment has no waist
seam and the new garment has a waistline, study the sample and mark the waistline. Generally a garment is
narrowest at the waist. The same method would be used for garments with yokes and hipline seams.
8. Note it is important to measure only till the line where the garment will close i.e. till the centre front or
centre back for placket opening as the additional is just the overlap for the closures. In case the garment has
a zipper as a closure then it is necessary to zip up the garment and then measure it.
9. Measure from seam line to seam line only; do not measure dart widths in the total bust or waist measurement.
If there is a panel in between measure for seam line to the panel and from panel to the next seam line. Do not
try to measure in shortcuts.
10. It is easy to measure the lengths of the garments that have basic neckline, the problem starts when the style
departs from the standard shape. All the garments that are worn over other garment are automatically
dropped slightly from the neckline for ease.
11. Note placement of buttonholes, buttons, pockets, points at which collars and cuff joins the garment. Note
any other garment detail that might be there.
The following points have to be kept in mind before you begin making a pattern from these measurements.
1. All the pattern pieces include ease, as these are the final/ ready measurements of the garment. While making
the pattern remember not to add any additional allowance for ease.
2. If the new design has different pieces than the original then the same should be carefully marked and noted.
3. Make a small sketch of the garment before starting the pattern.
4. All the pieces should be cut on the same grain as the original piece hence the grain of the pieces should be
marked on the sketch as this will ensure that the garment has the same fall as the original.
After recording all the measurements required, draft the pattern and check if the ready measurements are exactly the
same or not. Make the necessary corrections and proceed with the final garment. If the new garment is different than
the original, then it is recommended that a basic pattern may be drafted and test fitted before developing the style
variations. This may take little more time but in the long run is more economical in terms of time and money saving.
Any method that one may choose to make a garment from a sample, there is an important suggestion that should be
taken note of; i.e. it is important to make a trial muslin from the completed paper pattern as a test for accuracy of
reproduction and for fit. Make all the necessary changes before cutting the final fabric. Use the corrected paper
pattern for cutting, as it is more dependable than muslin.

47

CHAPTER 15
FABRIC REQUIREMENT
A major question that arises in ones mind at the time of purchasing fabric for any garment is how much to buy? It is
a very important question and to be able to give an objective reply, it requires a person to be an expert in pattern
development and an expert in making an economical layout. For the garment industry, this is of crucial importance,
as even minimal saving of 5cms of fabric in a shirt would result in 50 meters being saved in a lot of 1000 shirts. At
Rs. 80 per meter it would save Rs. 4000/-, which is a substantial amount of saving for a producer. Generally an expert
is able to save as much as 25 - 30cms in a garment easily even for a single shirt that is a big saving in the made to
measurement sector of the apparel industry.
Imagine a stage where one buys minimum of 50cms extra than the required amount, so that one does not run short of
fabric while cutting. The amount of money that is being spent on extra fabric, which goes waste and is thrown out or
that collects dust is tremendous.
How to calculate fabric required?
For any garment, that one is going to make one needs to know its two major dimensions i.e. maximum length and the
maximum round width. For any garment one needs a minimum of two lengths plus seam allowances. The fabric has
two grains lengthwise grain and width wise grain. One should cut the garment lengths along the length wise grain as
this is the stronger grain (which you have learnt in earlier chapters) and the fall of the garment would be far better on
this grain. One is able to cut the garment in less fabric only if the width of the fabric is wide enough to fit two length
of the garment in one length of the fabric.
The patterns representing all the individual pieces of the garment should be laid out together in such a manner that
they fit within the confines of the fabric width as closely and efficiently as possible. This minimises the wastage in
fabric. This is a pattern lay.
How to make a layout?
In the industry, this is the specialised task for which most of the companies that work on developing, pattern making
softwares for the clothing industry have been working for a long time and have successfully created a number of
dedicated softwares. On the computer all the pattern pieces of the garment are either digitized or drafted and a lay of
the garment is made. A rectangle of the dimensions of the fabric is made and the pattern pieces are placed on it in
exactly the same manner as one would on a fabric keeping in mind whether a piece is to be cut on fold, on bias or on
a cross grain. One can do this exercise manually by cutting or drawing a similar rectangle on a small scale and placing
or drawing the pattern pieces also on small scale in it. This exercise would be more scientific, precise and accurate for
fabric calculation. An example of the same is given below:
It takes time and effort to fit together all the pieces of pattern. It is like playing a giant puzzle. The game is to place
all the pattern pieces on grain in such a manner so as to be able to use the entire width and the length most
economically. For such purposes it is advisable to keep on hand several lengths of wrapping paper cut to standard
widths of fabric on scale.
Place the fabric on a flat surface. Line up its straightened edges with the straight edges of the cutting surface. Place the
pattern in position. Start with one end of the fabric. Support the weight of the cloth at the other end of the cutting area.
When the pattern pieces have been temporarily pinned on the material check if you could adjust the pattern pieces
and save more fabric.
Remember to place the pieces on the right grain and close to each other. Spaces between them may result in wastage of
as much as five to six inches of fabric. Always place the largest piece first, then the ones that may need to be cut on fold.
Fit in the smaller pieces. Fit in the shapes against each other, locking them whenever possible. This saves a lot of fabric.
Arrange the pattern pieces in such a manner that if any fabric is left, it is in one usable piece, either at an end or middle.
The pattern pieces have to be laid out in such a way that it takes into account directional properties of fabric, such as
fabric design and fabric grain. The quality of a product is affected significantly by the accuracy of fabric matching
also called mitering that is very important for fabrics with checks or stripes. Mitering is the perfect matching of check
or stripes even other directional prints on the side seam, centre back and centre front seam or any seam that might be
running across in the garment like a yoke or waistline seam. This might require more fabric consumption and great
deal of time and effort, for a perfectly mitered garment is a joy and pride of a designer and master tailor.

48

Given below are methods of fabric calculations for some of the popular categories of garments. These have been
given on an assumption that one would be using readily available 36" width fabric. These are just indicative and
have been done for basic or classical styles in the category and are in no way conclusive as it is expected that this
should be combined with practical exercises at every step. This is a practical subject and more learning happens with
hands on experience.
Shirt - For buying fabric for a mans shirt, one needs to know the shirt length, the round chest, and sleeve length
whether full or half. One needs to buy fabric piece for two lengths of the shirt plus the seam allowances and one
length of the sleeve with seam allowance. Care should be taken to place the centre front on selvedge, as not only this
saves fabric but also will save one operation, as the placket would have a ready finished edge. In case one is making
a shirt in a fabric that has one way print one may need at least two lengths of the shirt and sleeve length.
Trouser A trouser is generally made in the thicker fabric, which most of the times is available in a larger width of
60". Hence, one requires fabric piece for one length of the trouser plus 25cms, since two legs of the trousers have 4
pieces which can be cut two at one time by placing them in opposite directions on a fabric that is, folded half width
wise. In case one is making a trouser in a fabric that has one way print one would need at least two lengths of the
trouser.
Salwar A Salwar has 6 pieces for the legs and a belt. 4 side leg pieces of the Salwar are cut in the most economical
manner by placing them in opposite directions with no wastage of fabric whatsoever. The other two pieces of the leg
and belt are simple rectangles but basically Salwar is much wider than the trouser. For the Salwar one requires fabric
piece for two lengths of the Salwar and one seat length. . In case one is making a Salwar in a fabric that has one-way
print one would need minimum four lengths of Salwar fabric.
Kameez A womans kameez is worn over a Salwar. One needs fabric piece for two lengths of the kameez and one
sleeve length. If trends in fashion were for a big flare at the hem then, more than two lengths would be required. This
depends on number of panels of the required width, which would be needed, to cut the pattern according to the
design. In case one is making a kameez in a fabric that has one-way print one may not need extra fabric in basic styles
but for larger flare in the hem or a kameez with princess panel an extra length would be required.
Kalidar Kurta A Kalidar Kurta has two simple rectangles for back and front, which have the dimension of cross
back plus seam allowance by the length of the Kurta plus the seam allowance. It has two sleeves, the length of which
depend on design and generally has four kali. The kalis are cut in the same manner as the Salwar side panels.
Generally the kali is added after the sleeve in the Kurta but in some designs it may start from shoulder. In case the
fabric width is sufficient (depending on the width of the kali required) you need fabric piece for one length of the
Kurta, one length of the kali and one length of the sleeve. Otherwise, you would need two lengths of the Kurta and
one length of the kali. In case the number of kalis is more then the fabric required would increase proportionately.
Pajama- is a trouser like in its pattern but is generally much wider for comfort and easy fit. Generally it requires fabric
piece for two lengths of pajama plus seam allowance.
Churidar Pajama is a variation of a simple pajama that has extra length, which gathers around the ankle of the
wearer. This pajama is cut on bias for a better fit. The fabric required for this is 21/2 times the required length of the
wearer (This is the measurement of the person and not the pajama).
Sari Blouse For sari blouse, you need fabric piece for one length of the blouse and one sleeve length plus the seam
allowance. In case of a bigger size, one may need to buy two lengths of the blouse. Since the sari blouses are
generally made in 2 x 2 rubia that comes only in 36" width.
Skirt Skirt generally has one back piece, one front piece and a waistband. You need fabric piece for two lengths of
the skirt. There are tremendous possibilities of design variation in skirt. So the generalization may not work for skirts
with bigger flares, more panels, different fits and skirts with yokes holding pleats or gathers. The amount of gathers
or pleats in the skirt generally determine the fabric required.

49

Nightie Like a shirt you need two lengths of the Nightie and one sleeve length.
All the above are indicative measurements and requirements. It is recommended that one learns to make a pattern
layout. As explained in the beginning layout is a process similar to the actual cutting of fabric one needs to layout on
an imaginary fabric with the required pieces as one would on an actual fabric for the sake of fabric calculation.
For the beginner it is important to do a simple exercise as a learning point and should progress into more complicated
ones later. Conversion chart of fabrics with various widths has been prepared and that is to be used after one has
calculated the fabric required for a garment in 36" width (which is a most common width available in the Indian
market). A beginner needs to buy at least 25cms extra, as it is only with experience that one is able to make a layout
economical and accurate. Another reason is that as a beginner one may make some mistakes in marking or cutting
the right grain or dimensions and run short of fabric. After gaining experience, one must do some complicated
layouts to gain confidence.
Conversation Chart
Fabric width/
----------------Yardage required

32"

35"-36"

39"

41"

44"-45"

50"

52"-54"

60"

17 / 8

13 / 4

11 / 2

11 / 2

13 / 8

1 1 / 21 1/ 4

11 / 8

21 / 4

13 / 4

13 / 4

15 / 8

11 / 2

13 / 8

11 / 4

21 / 2

21 / 4

13 / 4

15 / 8

11 / 2

13 / 8

23 / 4

21 / 2

21 / 4

21 / 4

21 / 8

13 / 4

13 / 4

15 / 8

31 / 8

27 / 8

21 / 2

21 / 2

21 / 4

17 / 8

13 / 4

33 / 8

31 / 8

23 / 4

23 / 4

21 / 2

21 / 4

17 / 8

33 / 4

33 / 8

27 / 8

23 / 4

23 / 8

21 / 4

33 / 4

31 / 4

31 / 8

27 / 8

25 / 8

23 / 8

21 / 4

43 / 4

37 / 8

35 / 8

31 / 4

27 / 8

23 / 4

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CHAPTER 16
DATRS, PLEATS GATHERS

Darts
The dart is one of the most flexible and creative parts of the pattern. The space between the dart
legs can be used in a variety of creative ways and is limited only by the imagination of the
designer.
Types of darts:
Shoulder dart
Bust dart
Armhole dart
Centre front dart
Waist dart in skirt

51

Pleats
A pleat is an unstitched, folded dart held securely along joining seamline. It is a fold in the fabric
that releases fullness. Pleats are used to increase stride room, or can also be used as a design.
Pleats are found on skirts, bodices, sleeves, dresses, jackets etc. they are formed in a variety of
ways. They may be folded and left unpressed or pressed, stitched or left unstitched. They may be
grouped together with even or uneven spacing. Pleat depth may be single, doubled or tripled.
Types of pleats:
Knife pleats
Box pleats
Inverted pleats

Accordion pleats

Sunburst pleats

- Pleats are grouped and face in one direction.

- Pleats are folded away from each other on right side of the
garment
- Pleats are folded to meet each other on the right side of the
garment.
- Pleats have folds resembling the bellows of an accordion. The
pleats are close together and depth is equal from waist to hem.
- Pleats fan out and graduate from the waist. They are generally
used on circle skirts.

52

Gathers
Gathers change the look of the basic garment, but do not affect the fit.
Types of gathers:
Gathers at shoulder
Gathers at centre front bust
Gathers at waist
Gathers at neckline

53

CHAPTER 17
TUCKS, PLACKETS FACINGS, COLLORS AND SLEEVES

Tucks
A tuck is a stitched fold on the right side of the fabric resembling a pleat. Tucks are used as
design details and can be placed on any garment (top, skirt, dress, sleeve, pants etc.). Tucks can
be placed in any direction (vertical, horizontal and diagonal) and may be of any width. They can
be spaced close or far apart for varying effects.
Types of tucks:
Pin tucks
Shell tucks
Release tucks
Cross tucks
Space tucks

54

Plackets
Plackets are finished slits or faced openings designed on all types of garments-bodice, sleeve,
skirt, dress, jacket, pant etc. plackets can be of any length and width, with rounded, pointed,
stylized or blunt ends. Some plackets have buttons and buttonholes, others may not. The
measurement can vary to create different effects.
Types of plackets:
Regular shirt placket (for men)
Half pointed placket
Slit opening with placket
Wing collar placket

55

Facing
A facing is a duplicate-shaped piece of fabric stitched to the outside edge of a garment and folded
over to conceal the raw edges. Facings control the fit of the garment when the cut edge is bias or
crosses the hollow areas above the bust.
Facings are planned as part of the pattern plotting. They are placed from the pattern before or
after the design pattern has been developed. They vary in width and shape but generally are from
1 to 2 inches around the neck and armhole.
Types of facings:
Separate facings
: Individual facings for armhole and/or neck.
1. V neck facing
2. Square neckline facing
3. Scoop neckline facing
Combined facing : All-in-one armhole and neck facing.

56

Collars
A collar is the part of a garment that encircles the neck and frames the face, offering great
opportunities for design variations. Collars can be developed close to or away from the neckline.
They can be wide, narrow, flat, or high, and with or without an attached stand. The collar edge
may be stylized or may follow a basic shape (round, curved, scalloped, square, pointed etc.).
Collars can be convertible (can be worn closed and open, so that it lies flat across the chest when
opened) or nonconvertible (stay in the same location whether garment is buttoned or unbuttoned).
Types of collars:
Peter pan collar
Sailor collar
Chinese collar
Shirt collar
Collar for square neck

57

58

Sleeves
Sleeves have always been used for changing the silhouette of a garment. Important sleeve
silhouettes keep appearing, disappearing and reappearing over a period of time. There are two
major classifications of sleeves: the set in sleeve cut separately and stitched into the armhole of
the bodice, and the sleeve combined with part or the entire bodice.
Types of sleeves:
Cap sleeve
- These jut away from the arm and can be shaped in a variety of ways. It
is usually designed for a bodice, dress or blouse.
Puff sleeve
- Puff sleeves are developed by adding fullness to the sleeves width.
Puff sleeves can be of any length desired.
Bell sleeve
- Bell sleeves have a smooth cap and an unconfined hemline flaring out
in the shape of a bell. The bell may be developed into any length and flare desired.
Leg-of-Mutton Sleeve - This sleeve is developed by enlarging the biceps and cap area,
tapering the fullness towards the elbow level.
Raglan sleeve - The raglan sleeve pattern is developed by including part of the neckline
and armhole to complete the sleeve draft. The raglan sleeve can be designed for bodice,
dress, blouse, jacket, coat etc.

59

60

CHAPTER 18
FABRIC CARE
The proper care of clothes ensures that the garments last longer and gives one value for money and look great after a
number of washings. The garments that can be washed have been explained in the chapter Fibre and Fabrics. In
this chapter the topics covered are maximum ironing temperatures and spots and stain removal from various fabrics.
These are important for proper care of garments and fabrics.
Pressing or ironing
To get wrinkles out of the handkerchief one pushes the iron along, this is ironing - a gliding motion. Pressing is an
up and down motion. Lower the iron, press, and lift and move on to another section of the fabric. Then again lower the
iron, press and lift the iron; this is the pressing motion. As ironing has long strokes it is done on flat surfaces. Pressing
is done on small surfaces using various pads to suit the shape of different pieces and parts of the garment. For the
shaped three-dimensional garments it is advisable to use small shaped pads for pressing. For better finishing, it is
advisable to press each and every dart and press-open every seam while stitching. Press open every enclosed seam
before turning the facing back to the underside.
It is so much easier to topstitch an edge when it has been pressed flat. It is far easier to insert a zipper after seam
allowance has been pressed back first. Do not press over pins or basting as they leave marks.
Safe pressing temperatures limits for fabrics

Fabrics

Temperatures

Natural Fibres
Cotton
Linen
Silk
Wool

400 o -425o F
450 o F
300 o F
300 o F

Manmade Fibres
Acetate

250 o -350 o F
(Press on wrong side)
300 o F
cover with pressing cloth
300 o -350 o F
325 o F
350 o -375 o F

Acrylic
Metallic
Nylon
Polyester
Rayon
(Press on wrong side)
Rubber
Spandex
Vinyl
Blends/mixed
Fibres

Do not press
300 o F
Do not press
lowest for the fibre
type

Pressing special fabrics

a)

Crepe weave fabric- Crepe weave fabrics tend to shrivel when damp and stretch with pressure. Place a press
pad under the fabric and a press cloth over the fabric to retain the crinkle. Press lightly at required temperature
depending on the type of fibre.

b)

Furs- They require very little or no pressing. Press from the wrong side, if you choose to press, use a selffabric or a thick pile fabric like toweling as a press cloth.

c)

Napped fabrics- same as for furs using either a self fabric or a thick pile fabric like toweling as press cloth.

61

d)

Slubbed, looped, ribbed fabrics- Place the right side of the material against the right side of self-fabric or
terry cloth. Using a light touch steam the fabric.

e)

Wool- press lightly using a press cloth with moderately hot iron and steam lightly, if required.

f)

Metallic fabrics- ironing should be avoided as they may get permanently creased while being ironed. If
necessary, press lightly with a warm iron over a dry press cloth.

g)

Leather or leather-like and coated fabrics- should not be ironed.

h)

Lace fabrics- in order to preserve the raised structure of lace, place it over a thick towel and cover with press
cloth and steam iron lightly.

62

SPOTS AND STAIN REMOVAL

Many common stains can be removed by just washing the garment, especially if the stains are fresh. Some laundry
products contain special ingredients such as enzyme or oxygen bleach to aid in removing stains.
If the stains have aged, it would be best to pre-soak the garments in warm water. This should be followed by regular
laundering. Often old, unknown stains can be removed and many yellowed fabrics restored by this method.
Oxygen bleach is mild bleach, which can be easily used on fabrics that cannot withstand chlorine bleach; it will be
most effective in removing stains when used in hot water. Use the water at maximum temperature, which the fabric can
stand. There are stains, which even the best products cannot remove.
The information you need to have before you start stain removal
1.
2.
3.
4.

Know the fibre content.

Do not use chlorine bleach on silk, wool or spandex.
Do not treat leather, take it to a professional dry cleaner.
If stain remains repeat the treatment.

Although no guarantees can be given about the following methods but experience has shown them to be effective in
most of the cases.
1.

Alcoholic beverage: Sponge with cold water, then with glycerine and water. Rinse with vinegar water
before laundering.

2.

Blood: Soak in cold water for about thirty minutes. If stain remains soak in lukewarm

3.

Ammonia water: (3 Tbs. of ammonia to half a bucket of water)/ club soda. Launder.

4.

Chewing gum: Put the article in plastic bag and place it in freezer. Gum may be removed with a blunt
knife.

5.

Coffee: Sponge with cold water immediately or soak in cold water for at least 30 minutes. Rub with
soap and rinse thoroughly.

6.

Crayons: Loosen stain with kitchen shortening. Apply detergent and baking soda, working until the
outline of the stain is removed. Launder and use bleach if safe.

7.

Deodorant: On silk they cant be removed except maybe by dry cleaning, on cottons rub lemon juice
on to the stain and launder normally.

8.

Eggs: Sponge with cold water. Work in soap or detergent if stain remains. Scrape if egg has dried before
working with soap.

9.

Fruit stains: Stretch the fabric over a bowl and pour hot water through it. Sponge with lemon solution
if stain persists.

10. Gravy stains: Sponge in lukewarm water. Launder in warm soapy water. In some fabrics it may be
necessary to work soap / detergent well into the stain and allow it to stand for few hours. If the gravy has
turmeric work detergent/ soap well into the stain, the stain will turn red in colour and keep the garment
in the sun till the stain disappears, rinse in water to remove soap.
11. Grass: Work detergent into the stain and rinse.
12. Grease: Place a towel under the stain, pour cleaning fluid through stained area, and launder in hot water.
13. Ice cream: Sponge in cold water, apply vinegar water.

63

14. Ink: Soak the stained area in cold milk and wash after half an hour. If it persists rub with lemon and wash
normally.
15. Ketchup: On washable articles, sponge with cold water let it sit for 30 minutes. Work in detergent and
rinse.
16. Lipstick: Lessen stain with cold cream or glycerine. Wash as usual in undiluted detergent or pour
liquid detergent through spray on it.
17. Milk/ cream/ Ice cream: Launder washable fabrics with plenty of soap.
18. Mud: Allow it to dry, then brush lightly and launder.
19. Nail polish: Clean with nail polish remover on all fabrics except acetate. Acetate needs to be sponged
with amyl acetate.
20. Oil/ ghee: Sprinkle liberally with talcum powder let it stay for at least an hour, then brush the powder
lightly. Rub with soap or detergent into the stain and wash with warm water if stain persists.
21. Perfume or cologne: Wash immediately in solution of detergent and hot water. Do not allow the stain
to age.
22. Soft drinks: Sponge immediately with cold water. Rub in glycerine and rinse after 30 minutes.
23. Soup: Sponge immediately with cold water. If stain remains rub in soap or detergent and allow it to dry.
Rinse after few hours.
24. Vegetable stains: on washable fabrics sponge with cold-water let it stay for 30 minutes, work in the
detergent and rinse.
25. Urine: Soak in enzyme detergent and launder using safe bleach as per fabric requirement.
26. Water: Launder the fabric.
27. Wax: Scrape off as much as possible. Then place the fabric between two paper towels and press with
warm iron. Sponge final traces of the stain with a solution of water (2 parts) and alcohol (1 part).
28. Wax Polish: Rub with soap or detergent and rinse with warm water. Sometimes you may need to use
grease solvent.
29. Wine: Soak in enzyme detergent in hot water (as hot as possible according to the fabric) and launder
using bleach if it is safe for the fabric.
Prompt treatment helps in more effective stain removal. Hence it is wise to store some of the supplies on hand.
Bleaches: Chlorine bleach; fabric colour remover; oxygen type bleach (non-chlorine for all fabrics).
Detergents: Enzyme pre soak product; Liquid detergent; powder detergent; spray type pre treatment products
Soap: Laundry soap; white bar soap
Miscellaneous stain removers: Ammonia, rust stain remover; white vinegar
Solvents: Nail polish remover; turpentine oil
Other supplies: Clean white cloth and white paper towels

64

CHAPTER 19
GARMENT FITTING
Fit refers to how well a garment conforms to the three-dimensional human body. Good fit is crucial to ones satisfaction.
However, it is often easier to find clothes in right colours, prices and style that one likes than a well-fitted garment.
The effect of a stunning design, gorgeous fabric and exquisite workmanship are destroyed if the finished garment
doesnt fit well to the intended wearer. Fit problems may be caused due to careless design, construction or may be the
result of individual characteristics of an individuals body. No two bodies are alike, and sometimes even the left and
right halves of the same body are not mirror images of each other.
New technology promises to overcome these problems; a new computer system can optically measure an individuals
body in three dimensions. This data is then converted to a computerised, individual pattern, a mans suit designed by
this method is ready to be cut out and ready to sew within 7 minutes of receipt of the measurement data. The resultant
garments fit accurately as the computerised scanner detects subtle nuances in the shape of the body that normal
measurement systems are unable to read. These systems are on the stage of trial; but they would be costly and would
take a long time to be readily available.
There are varying opinions on what comprises a good fit. Personal preferences regarding fit are governed by current
fashion trends, cultural influences, age, sex, figure type, and lifestyle. The intended end use of the garment also
affects the desired fit. For example, a person needs more ease for active sportswear than for spectator sportswear like
in a tracksuit.
Elements of Fit: an evaluation of Fit is based on five classical elements:
Grain: for a good fit the garment should be cut on the right grain or in other words on grain. (This has already been
explained on How to calculate fabric). An on grain garment hangs evenly and appears symmetrical. If the garment
is off-grain, it will not hang straight. The garment and seam lines may twist or hang crooked because the fabric on
each half of the garment behaves differently. Deviation in the grain line is a result of wrong cutting or stitching or
even due to a poor posture of the wearer or figure irregularities that may interfere with the grain of the garment as it
hangs on the body.
Set: refers to a smooth fit without any undesirable wrinkles. Wrinkles caused by poor set cannot be ironed out, but
result from the way the garment fits the wearer. Set wrinkles usually occur because the garment is too large or too
small for the wearer and the garment hangs or sags when worn.
Line: refers to the alignment of the structural lines of the garment with the natural lines of the body. Side seams of the
garment should hang like a plumb line down the centre of the side of the body. It should be perpendicular to the
floor. Centre front and centre back likewise should fall centre of the front and back of the body and be perpendicular
to the floor. Darts and seams such as shoulder seams should visually appear to be straight lines that follow the body
part they are intended to fit. Other seam lines should be gradually curving lines like necklines, waistlines, hiplines
and armholes. Poor design or construction can result in an out of line garment. Even figure irregularities can distort
the lines of the garment.
Balance: occurs when the garment is in equilibrium. The right and left side of the garment appear evenly balanced
or symmetrical, when viewed from front, back or side of the garment. A skirt is balanced if the legs of the wearer are
in the centre and are not touching the front or back of the skirt. Balance relates to grain and line in the garment. A
garment is out of balance when it is cut off grain, causing it to hang unevenly. Also if the line of the garment does not
follow the line of the body, it will hang out of balance. Poor posture or lack of symmetry in the wearers body is
another likely cause of it.
Ease: refers to the amount of roominess in a garment. Ease is the difference between the measurements of the body
of the intended wearer and the measurements of the garment. There are two kinds of ease: fitting ease and design
ease. A garment must contain adequate ease beyond the actual measurements of the wearer to allow room for
ordinary movements like walking, sitting, reaching out and even breathing. Ease in this context is called Fitting
ease. Design ease is the extra style fullness added to the fitting ease. All the garments have fitting ease but design
ease is optional as it is added purely for the sake of appearance and giving the garment its style.

65

Evaluating fit
In evaluating the fit of the garment, all the sides of the garment must be examined. The fitting should start from the
top and move downwards. The following body parts should appear as:
Shoulders: should appear smooth and feel comfortable. Seam should lie on top of the shoulder. In regular styles the
arm syce seam should fall on edge of the wearers shoulder. The shoulders of the garment should be wide enough so
that the sleeves hang smoothly. If the shoulders are too narrow, the sleeves will pull across the upper arm and cause
wrinkles. If fashion trends require the shoulders to be narrow or wider the pattern still should allow sufficient
movement. The shoulder slope of the garment should match the shoulder slope of the wearer.
Bust/Chest: if the garment is too small, the seams or closures are at the centre front or back are going to pull and gape
open. A larger bust or highly developed chest often causes the button closure to gape open at centre front or back,
also the garment may ride up because the larger bust curves takes up more length. A well-fitted dart always points
towards the fullest part of the of the body curve it is intended to fit. The tip of the dart should end about an inch before
the fullest part of the curve. Darts that are too short or darts that extend beyond the fullest part of the curve result in
a bubble at the dart tip. Darts occurring anywhere in the garment follow the same principle. The practise of eliminating
darts to speed construction creates diagonal wrinkles on the bodice front.
Neckline: necklines should be large enough to fit without pulling or chafing but not so large that it doesnt lie flat
against the body in front and back. The front of the basic neckline should always be lower than that of the back.
Collar: the most important factor in the fit of the collar is the neck circumference. The circumference of the collar
should be at least 1/4th of an inch bigger than that of the neckline or just large enough for one to insert two fingers
between the neck and collar. A properly fitted collar should be smooth and stays in place when the wearer moves. It
should not be so tight that it pulls. A tight collar is uncomfortable and makes the neck look large. But neither should
it be so loose that it gapes.
Armsyces: must fit well for the garment to be comfortable and attractive. The circumference of the arm syce should
be large enough so they do not pull at the front and back of the garment, but not so large that it gapes. In well-fit
armsyces, the base of the arm syce is cut close to the armpit, but not so close to the armpit that it bites into the armpit.
It should be cut about an inch below the armpit. This provides adequate comfort, room for movement, and close fit
without wrinkles in the armsyce area. If the armsyces are too tight they are snug and uncomfortable. Armsyces in the front should
be more deeply cut than at the back as most of the movements are in the front.
Sleeves: that fit well are attractive and comfortable. The circumference of the basic sleeve should be loose enough so
that it does not bind nor has wrinkles horizontally around the arm. A tight sleeve apart from being uncomfortable
makes normal arm movements impossible. Sleeves can be as loose as one wants but only problem would be to wear
the garment under a fitted jacket. A well-set jacket sleeve hangs with a slight angle towards the front. The crosswise
grain at the bicep should lie parallel to the floor.
Waistline: fit is essential for comfort. The waistline of the garment should not be so tight that it binds and rolls. It
should have plenty of room for breathing and eating and it should return to its position after the arms are raised or
lowered. It should not be so loose that it stands away from the body, droops, or adds bulk when a top or shirt is tucked
in or worn under another garment. The narrowest part of the garment should fall at the wearers waist. If there are
buttons at the waist the garment should not pull or strain at the closure. A jacket should be big enough at the waist
so that a person can sit even when it is buttoned.
Hips: the fit of the hip area is critical when fitting skirts or trousers. If there is adequate room in the hip area other parts
of the garment can easily be altered to fit. Garments with enough room in the hip, thigh and abdomen area fit
smoothly without pulling, wrinkling or riding up. Pocket, pleats or vents that open up indicate that garment is tight
in the hip or abdomen area. If the garment has excess ease in hip or thigh area it will result in vertical folds.
Crotch/seat: trousers and other bifurcated garments require a well-fitted crotch for comfort or durability. A properly
fitted crotch doesnt cut or bind the wearer between the legs and conforms to the shape of the buttocks. There should
be slight but not excessive ease in the crotch area. Crotch length generally has one inch of ease in the crotch area. The
back of the crotch seam should be longer and more deeply curved than the front as the backside of the buttocks are
more curved than the front. Bigger sizes require longer and deeper curved crotch lengths at the back. Diagonal
wrinkles radiating from the crotch area are the result of, crotch curve not long

66

enough to accommodate the size of the buttocks. Diagonal wrinkles in the front may also be due to the wearers big
abdomen. Wrinkles emanating upward from the crotch area indicate a too tight and high crotch, resulting in chafing
and discomfort. Wrinkles emanating downwards from the crotch area indicate a low and loose crotch; it bags and
sags, restricts walking and has increased probability of ripping from strain of movement. If the rise may be lengthened
or shortened, the waistband should also be raised or lowered. Rise should not be lengthened or shortened in the
crotch length as the same may lead to problems where none existed.
Another important rule of the fitting apart from knowing how to fit is when not to fit. Clothes must not only fit but
need to flatter as well. There is absolutely no need to fit a garment so close to the body that it looks bad, also there
is no need to stick to the design if it does not flatter the body. The real expertise lies in the fact that one is able to strike
a balance between the lines of the design and the lines of the figure. The ability to do this is a skill that one learns by
training the eye to see and judge as to what flatters the body.
Fitting is like sculpturing it creates a three dimensional form. Another question that is frequently asked is how many
times one should fit; the answer to this is as many times as it takes to fit well.
Why and how to fit?
Mathematical calculations and pattern corrections alone cannot guarantee the fine fit of the garment. They can only
provide an approximation of ones figure needs. The other points to be considered are:
 The style of the garment whether it suits oneself or not.
 The necessary and sufficient ease in the garment.
 The posture and the individual shape of the wearer.

These can truly be evaluated only on a fabric test fit. Since only minor changes can be made once the garment has
been cut on the fabric. Hence a test fit can save lot of wastage. There are times when test fit is not necessary, those are
when one is sure of the style, know from experience how to adjust the pattern, have sufficient material to recut if
necessary and have sufficient seam allowances to borrow in emergencies. But if one has any doubts whatsoever, then
test fitting is a must.
Commonly used test material is muslin, bleached or unbleached, should be used in a similar weight to that of the
final fabric. Any other solid coloured plain weave fabric like poplin in a similar weight to final fabric would do. A
plain surface is recommended as this clearly shows all seams, darts and other style details. Layout the pattern cut and
mark your test fit fabric with equal amount of care as you would your final garment fabric.

Put the trial muslin together. The quickest way to get the effect of the finished garment without actual stitching is to
overlap and pin all the seams lines. Pinning gives the same result and information, that one wants without going to
the machine. It is so much faster and easier to unpin and then re-pin than to rip stitching and re-stitching.
Pins should be placed at right angle to the seam line, as in this method there is least amount of strain or pull on the
seam, and it does not gape. When test-fitting trousers remember to baste stitch the crotch seam.
Check the test fit muslin and make correction till fully satisfied. Mark all the corrections and the same should be
transferred on the pattern for it is the paper pattern that one should use to cut the final fabric and not the test fit muslin.
Mark new notches as the old ones may not hold good after the alterations. Check the lengths of two matching seams
to ensure that the alterations have not created more problems, e.g. if you have corrected the dart intake of side seam
dart in the front, check to ensure that both the side seams are still equal or not and if required make the necessary
changes.
Methods of fit
There are two kinds of fitting:
One is the first test fit that is done on muslin at the time when the pattern is made. A basic test fit is done to check the
pattern fitting; the pattern is cut with relevant seam allowances and pinned in place for test fitting. Make sure that
seams and darts are in place. This fitting is always done from the right side of the garment, as it is easier to make
changes and corrections. These corrections become the new seam lines for the garment. Check the garment for ease
and fullness. It is important to mark buttons and buttonholes at right places in this fit.
The second is after the garment has been stitched before final finishing. Stitch the garment with relevant interfacing/

67

or underlining in place press it well and test fit to check the position of darts, seams, puckers if any and locate the
position of outer seams. This type of fitting refines and perfects the fit of the garment.
Other times when refitting becomes necessary are if the garment has been purchased readymade from the market some
alterations may be required for it to be fitted to an individuals size and also if there are changes in the body size, like
if some one has grown thin or has put on weight or if a child has gained height, refitting may become necessary. The
methods by which each pattern seam or area is to be corrected and altered depends on the type of problems and nature
of the fitting defect. The major problem areas have been earlier identified and detailed explanation has been given
subsequently. There are areas that require minor alterations those have been explained and those that require some
pattern manipulation have been shown with figures and explained briefly.
Given below are some of the fitting problems that would necessitate pattern alterations.
1. Waist alterationsa) Thick waists reduce the size of the darts and or add at the side seam.
b) Slim waists increase the size of the darts and take some at the side seam. If difference is a small amount then
the adjustments may be made in either in the darts or on the side seam. But in case the amount is sufficiently
large then half of it should be altered in the dart and half in the side seam.
2. Shoulder alterations- since the clothes hang from the shoulder their correct fit establishes the lines and shaping of
the rest of the garment.
a) Sloping shoulders- on front and back pattern draw slash lines from neck to armhole edges. Slash and overlap
the pattern at armhole edges to the needed amount. Pin the pattern piece or scotch- tape it to the required
position. Redraw the armhole curves, lowering them at underarm by the same amount that you have taken in
for corrections.
b) Square armholes- on front and back pattern, draw slash lines from neck to armhole edges. Slash and spread
the pattern at armhole edges to the needed amount. Raise the armhole curve by the correction amount.
Redraw the pattern on a new sheet or add paper to fill the gap
c) Round armholes- on front and back pattern, draw slash lines from neck to armhole edges. Slash and overlap
the pattern at armhole edges to the needed amount. Redraw the armhole curves, lowering them at underarm
by the same amount that you have taken in for corrections.
d) Broad shoulders- on front and back pattern draw L-shaped slash lines from mid shoulder to notches on the
armhole. Slash and spread the pattern at shoulder to the needed amount. Redraw the pattern or insert paper
in the gap. Correct the shoulder lines.
e) Narrow shoulders- on front and back pattern; draw L-shaped slash lines from mid shoulder to notches on the
armhole. Slash and overlap the pattern at shoulder to the needed amount. Redraw the shoulder line.
3. Sleeve alterations: the sleeve hangs from the shoulder and setting of the sleeve starts at the shoulder. Check that
the armhole is neither too tight nor too loose otherwise a sleeve will not set in properly.
a) Wrinkling, pulling, straining, binding- this may be due to insufficient width across the sleeve cap, across
the chest or back. Unpin the sleeve. Use some of the sleeve seam allowances at the armhole and sleeve cap
for more width.
b) Tight armhole- drop the armhole by requisite amount. Add width at both the armhole and sleeve edge. Use
some of the under arm seam allowances at sleeve and side seam.
c) Short sleeve stands out at the hem- this is due to insufficient length of the sleeve cap. Draw a slash line across
the cap. Slash and spread to the needed amount. Correct the armhole curve.
d) Sleeve cap wrinkles across the top of the sleeve- this indicates too much length at sleeve cap. Draw a slash
line across the cap. Slash and overlap to the needed amount. Correct the armhole curve.
e) Heavy arm- draw an inverted slash line on each side of the sleeve starting at under arm to the lower edge of
the sleeve. Slash and spread the pattern to half the needed amount to each side at the underarm and tapering
to nothing at the lower edge. Make corresponding changes in the armhole seam of the front and back bodice.
Draw a slash line from the underarm to waistlines in front and back bodice. Slash and spread the pattern to
the same amount as that added on each side of the sleeve, starting at the underarm and tapering to nothing
at the lower edge.
f) Tight upper arm- slash the sleeve at the centre from shoulder point to the lower edge. Spread at the cap the
necessary amount tapering at the lower edge.

68

4. Bust alterations: since the bust area is the most difficult to fit being the curviest part of the body. Check the
garment; it is neither too tight nor too loose as big alterations are not very effective in this area especially for closer
fitting garments.
(a) Bust with a large cup-as you are aware women with the same bust size have different cup sizes. This causes
the garment to be tight over the bust area. Draw a vertical slash line from the shoulder passing through the
bust point to the other edge of the pattern, passing through the waistline dart. Draw a perpendicular to this
line at the bust point from centre front to the side seam. Slash on all lines and spread the pattern adding at the
bust area without increasing at the shoulder. The added width at the side seam and waistline should be taken
in a dart. If the dart intake is very big it is advisable to convert it into two darts.

b)

Bust with a small cup- Draw a vertical slash line from the shoulder passing through the bust point to the other
edge of the pattern, passing through the waistline dart. Draw a perpendicular to this line at the bust point
from centre front to the side seam. Slash on all lines and overlap the pattern without reducing on the
shoulder.

5.

Hip pattern alterations: fitting problems in this are manifest themselves in wrinkling, pulling, sagging and
uneven hemlines.

a)

Small hips- Draw a vertical slash line from the waist to the hem of the skirt pattern. Draw a horizontal line
from centre back to the side seam passing through the fullest part of the hip. Slash the pattern on both the
lines and overlap width wise to remove excess without loosing at the waist, unless the dart intake can be
taken out for ease. Overlap length wise to remove excess without loosing at the side seam. True the seam
lines.
Large hips- Draw a vertical slash line from the waist to the hem of the skirt pattern. Draw a horizontal line
from centre back to the side seam passing through the fullest part of the hip. Slash the pattern on both the
lines and spread width wise to fullness; the added ease may be taken in the dart intake. Spread length wise
to add fullness without adding at the side seam. True the seam lines.

b)

Given below are some of the common fitting problems that would necessitate pattern alterations with illustrated
solutions by draping method.

69

1.

Problem- Folds below the bust dart.

Solution- Undo the dart and part of the side seam. Lift shoulder a little, re-pin a bigger dart and pin the side
seam to take out the excess fabric.

2.

Problem- Low waist.

Solution- Tie a band around the waist and remark the waistline. Remove and re-pin the skirt to new waistline.

3.

Problem- Baggy below the hip.

Solution- Raise the skirt at back only and re-pin

70

4.

Problem- Gaping armhole

Solution- undo dart and pin a bigger dart. Making sure that it points towards the bust point. One may need to
lift shoulder seam at the armhole.

5.

Problem- Low neckline gapes.

Solution- Lift at the front shoulder seam. Lower the dart point if necessary.

6.

Problem- Folds in the dress below the waist.

Solution- Undo the side seam from below the armhole and ease out until the garment hangs smoothly.

71

7.

Problem- Tight neck or armhole.

Solution- slash and snip seam allowance to release tension. If it is not enough, mark a new seam line that is
lower than before.

8.

Problem- Neckline stands away and folds below.

Solution- release shoulder seam and let it out at the armhole edge.

9.

Problem- Shoulder seam lies towards the front of the shoulder.

Solution- Undo shoulder seam and release front seam allowances only.

72

10.

Problem- Folds across sleeve at the top.

Solution- Mark a new fitting line below the existing one to reduce cap height.

11.

Problem-Sleeve hangs towards the back.

Solution- Remove the sleeve and re-pin by moving the notch at the centre of the sleeve toward the back so that
the sleeve may hang towards the front.

12.

Problem- Wrinkles and creases around the upper arm.

Solution- Release the underarm seam allowance and add the ease.

73

13.

Problem- Sleeve pulls at the back armhole.

Solution- Unpin the sleeve and release the seam allowance on both the armholes of sleeve and bodice.

14.

Problem- Trousers are loose at waist, hip or leg. Creases on leg and trousers stands away at waist.
Solution- Take excess fabric at side and pin at original seam lower down. For larger hip increase the dart intake.
Pin the excess towards the outer seam.

15.

Problem- Trousers tight below the waist, crease around abdomen.

Solution- Release darts and reduce their width and length, also release some ease on the outer seams
and re-p

74

Patternmaking & Sewing

Household Items/Accessories

75

CHAPTER 20
TABLE MATS, COASTERS & NAPKINS
FABRIC REQUIRED
30 cms white bizzy lizzy fabric
25 cms black bizzy lizzy fabric

ADDITIONAL MATERIAL REQUIRED

1 metre red satin tape
1.5 metre grey tape
25 cms paper fusing

TABLE MAT: Cut a rectangular piece of cloth

having width 11& length 16

COASTERS: Cut a square piece of cloth

measuring 6X 6

PATCH FOR TABLE MAT: cut a triangular piece of

cloth having OA = 7& OB = 4

PATCH FOR COASTER: Cut a triangular piece of

cloth having CD = CE = 1
NAPKIN: Cut a square piece of cloth measuring
11X 11
PATCH FOR NAPKIN: cut a triangular piece of
cloth having FG = FH = 5

76

CHAPTER 21
CUSHION COVER
FABRIC REQUIRED
 0.5 meter maroon lizzy bizzy fabric
 0.25 meter orange short silk
 0.5 meter sunshine yellow lizzy bizzy fabric
 0.25 meter cotton lining

ADDITIONAL MATERIAL REQUIRED


0.25 meter foam (1/8 thickness)

3 medium sized wooden buttons

FRONT PANELS
Panel 1 = 16X 9 & panel 2 = 16X 8
BACK PANEL
Square piece of cloth measuring 16X 16
PATCH
Triangular piece of cloth with third side curved, having AB = AC =8
FRILL
DE = 16& FG = 19
FRILLS TO BE QUILTED WITH DECORATIVE STITCHES AND CUT THE EXTRA EDGES (IF ANY).

77

78

Women
ear
omenss W
Wear

79

CHAPTER 22
SIX PANELLED PETTICOAT
MEASUREMENTS TO BE TAKEN

Waist

Hip

Total length

FABRIC REQUIRED
2.25 mts. Width = 36"=2L+belt+fold

STEP No.

REFERENCE POINT

DETAILS

1.

OA

2.

OB

Hip/2

3.

BC

Equal O A

4.

BE

Hip/12 + 1"

5.

AD

Hip/6

Full length Petticoat belt 2"

Join E D
6.

BF

joint to E F

1.

IJ

2" (on fold)

2.

IL

Waist/2+3" (on fold)

Waist Belt

80

CHAPTER 23
SIMPLE PAJAMA
MEASUREMENTS TO BE UNDERTAKEN
Hip: 36"
Full length: 40"
Bottom opening: 9"

MATERIAL REQUIRED
2.25 meter cloth

FRONT & BACK

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length + 3" for turning

O-D

Hip/3 + 1" (equal to crotch length or body)

D-E

Hip/3 + 1.5" broad

A-G

Round bottom/2

A-H

Draw a line at half of AD + 1"

H-F

Hip/4 +0.5"

B-I

1" Join till IE

Join EF to FG in a curve

81

CHAPTER 24
KAAFTAAN
MEASUREMENTS TO BE UNDERTAKEN
Chest
Shoulder to Waist
length

MATERIAL REQUIRED
3 meter cloth
2.5 meter lace

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length (on fold) = 54"

O-B

Half of fabric width

O-I

Shoulder to waist (NW) = 15"

O-D

Chest/4

D-G

Chest/4+1.5"

G-H

Chest/12 +

E-F

E above F at 1"

C-J

1" inside

O-K

Chest/12 +0.5" for neck width

10

O-L

Chest/12 = neck depth

11

O-M

Chest/6, front neck depth

Keep margins for stitching and hemming/finishing.

O
L
M

F
E

ON FOLD

J
C

82

CHAPTER 25
SHAMIEZ
MEASUREMENTS TO BE UNDERTAKEN

Chest : 32"

Length : 35"

Waist : 26"

NW: 13.5"

MATERIAL REQUIRED

1.5 meter doth

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length

O-D

Chest/4 -1"

O-B

Chest/6

D-I

Chest/4 + 1.5" =EH

C-B

Chest/6 1.5"

O-E

Shoulder to waist 13.5"

D-D

2" below

G-H

Join 2" inside, 0.5" above

HGD

Join giving shape

10

DCI

Give shape

11

DGH

Give gathers in front

12

F-A

= JK

13

J-K

Hip/4+1"

14

E-K

Ch/4

83

CHAPTER 26
LADIES PLAIN SALWAR
Measurement
Hip : 36"
Full length : 40"
Bottom opening : 9"
Material required : 2.25 mt cloth

Front & Back

Sr. No.

Description

O-A

Full length

OB = AC

OA = BC

Full Length

D-E

Equal to (OA & BC)

D-H1

Hip/3 +3

H1-G

Crotch length = Hip/3+2.5

E-F

3"

84

PLAIN SALWAR - LADIES

D
H1

FOLD

Cut x 2

ON FOLD

Cut x 4

C E

85

K
L

CHAPTER 27
LADIES SALWAR WITH BELT
MEASUREMENTS TO BE TAKEN

Hip

Length of Salwar

Bottom Opening

ADDITIONAL MATERIAL REQUIRED

Soft Buckram
AMOUNT OF FABRIC REQUIRED

2.25 m

BELT
STEP No.
1.
2.
3.

REFERENCE POINT
O
OA
OC

DETAILS
Starting point
Hip/6 + 1"
Hip/2+5"

REFERENCE POINT
HL
LK
HI
KJ

DETAILS
8"
Total length width of belt
LK 2 "
6 " ( bottom opening)

REFERENCE POINT
DE
DG
GF

DETAILS
Hip/3 + 2 - Belt
Hip/3
Equal length as H I in front

REFERENCE POINT
MN
PQ
MQ

DETAILS
6 "
7 "
1"

FRONT
STEP No.
1.
2.
3.
4.
BACK
STEP No.
1.
2.
3.
PONCHA
STEP No.
1.
2.
3

86

87

CHAPTER 28
PRINCESS SHIRT (LADIES)
MEASUREMENTS TO BE UNDERTAKEN
Chest: 32"
Across shoulder: 14"
Length: 40"
Sleeve length
Sleeve hole

Waist
hip
MATERIAL REQUIRED
2.25 meters cloth

FRONT
STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length

O-B

Across shoulder/2

B-N

Chest/4 1"

C-D

Chest/4 + 1"

O-E

Waist length =14"

E-F

Waist/4+1.5"

G-H

At hip level, hip/4 +1"

O-G

Hipline

A-I

14" or as desired according to fashion

10

K-D

Armhole shape using curve scale

11

O-M

Chest/12 +0.5" or as desired ( front neck width)

12

O-P

Chest/6 or as desired (front neck depth)

13

E-L

Chest/12+0.5", GQ=EL

14

A-J

Chest/6 or as per design

15

R-R

8" (length of dart)

16

B-K

"

17

M-R

Chest/4 +1.5"

18

L-R

Join giving curve

19.

N-L

1 above bust line

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length

O-B

Across shoulder/2

B-N

Chest/4-1"

C-D

Chest/4 + 1"

E-F

Waist/4 + 1.5"

A-I

14", equal to front

O-M

Chest/12, or as desired

BACK

88

SLEEVE
STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length

O-B

Chest/12+0.5"

D-O

Give shape

A-E

Chest/6 or half of sleeve hole

B-B1

Chest/4-1"

L1

89

CHAPTER 29
SIMPLE LADIES KURTA WITH NECK AND SLEEVE OPTIONS
MEASUREMENTS TO BE TAKEN

Across shoulder

Chest

Length of Kurta: 40"

FABRIC REQUIRED
2.5 meters

BASIC BLOCK (FRONT)

STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Total length of Kurta

3.

OB

th of chest 1"

OC

Ch/6

OQ

Waist level and Q-R = waist + 1"

OS

Hip Length & S-T = Hip/4 + 1"

Q - S(HBL)

Hip/4+1

OD

Shoulder drop = "

OE

1/12 th of chest

10

EF

Join E F parallel to O C

11

DG

of shoulder & join E G

12

BH

of chest + 1"

13

GH

Join using French curve

14

EC

Join using French curve

FOR NECK, FOLLOW VARIATIONS AS IN MAIN PATTERNS

BASIC BLOCK (BACK)
STEP No.

REFERENCE POINT

DETAILS

1.

OL

"; draw a line parallel to O E

EP

Draw a curve using French curve

3.

GH

Draw a curve using French curve

STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Length of sleeve

3.

OB

1/ 12 th of chest

4.

B B1

of chest, also equal to B B2

5.

A A1

5 ALSO = A A2

6.

Join B1 O; A1 B1

7.

C 1& C2

Mid of O B1 & O B2

8.

D1 & D2

Mid of C1 B1 & Mid point of C2 B2

FULL SLEEVE

90

HALF SLEEVE
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Length of sleeve

3.

OB

1/ 12 th of chest

4.

B B1

of chest, also equal to B B2

5.

A1 A

6" also = A A2

6.

Join B1 O; A1 B1; B2 O; A2 B2

7.

C1 & C2

Mid of O B1 & Mid point of O B2

8.

D1 & D2

Mid of C1 B1 & Mid point of C2 B2

NOTE: Always remember that the armhole of front block is deeper than the armhole of back block.

91

CHAPTER 30
CHURIDAR PAYJAMA
MEASUREMENTS TO BE TAKEN

Waist

Hip

Length of Churidar

Crotch Length

AMOUNT OF FABRIC REQUIRED

2.50 m

FRONT
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OB

Total length of churidar 5" - belt

3.

OC

8 "or Hip/4 "

4.

CD

hip + 5 "

5.

BE

5" or Hip/6-1"

6.

OH

Equal to CD

8.

BA

21" or Hip/2 (can be customized)

9.

FA

5" or Hip/6-1"

10.

O-J

Knee length belt

11.

J-K

of knee width + 1"

STEP NO.

REFERENCE POINT

DETAILS

1.

A-C =BD

6" OR HIP/6

2.

AB=CD

Hip/4 + 3"

BELT

92

93

CHAPTER 31
PLAIN BLOUSE WITHOUT LINING
MEASUREMENTS TO BE TAKEN

Round neck (just for reference)

Across shoulder

Chest

Waist

Length of blouse 14

FABRIC REQUIRED
1) 1 meter
ADDITIONAL MATERIAL
1) 6 hooks

BASIC BLOCK (BACK)

STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Total length of basic bodice

3.

OB

Ch/6 + 1" or upper arm round

4.

BH

chest + 1"

5.

OE

1/12 chest

6.

OD

3/4

7.

DG

Shoulder / 2

8.

OL

" or 5"

9.

AI

Waist / 4 + 1 "

10.

AK

Ch/12 + " (Dart length = 1" below from the chest line)

11

EP

Join using French curve

12.

H-I

Join HI

13.

G-H

Join using French curve

14.

E E

Tuck Length

BASIC BLOCK (FRONT)

STEP No.

REFERENCE POINT

DETAILS

OC

Ch/6

B H

of chest + 1"

X-K

Ch/12 + " length = from E point to apex point

(Ch/4 + 1 ")

X-I

Waist/4 + 1 "

H-Z

Ch/8 + 1 "

Highest point on armhole (dart = 3"X ")

EC

Join using French curve

GH

Join using French curve

AX

"

10

E-M

Apex point (Ch/4 + 1 ")

11

B-Y

Equal to apex point

94

SLEEVE
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

3.

OB

1/ 12 th of chest + "

4.

B B1

1/6th chest + 1"

Join B1 O; A1 B1; B2 O; A2 B2

C1 & C2

Mid of O B1 & Mid point of O B2

D1 & D2

Mid of C1 B1 & Mid point of C2 B2

A A1

5"

95

FITTED SHIRT
Measurement to be taken
Chest = 32"
Length = 40"
Across shoulder = 14"
Waist = 26"
Required material
2.25 mtr cloth
25cm buckram or fusing

FRONT & BACK

Sr. No.

Description

O-A

Full length

O-B

Across shoulder/2

B-L

Chest/4-1"

C-D

Chest/4+1"

O-E

14", shoulder to waist

E-F

Waist/4 + 1.5"

E-G

At hip level, hip/6+1

G-H

Hip/4 +1"

A-I

Chest/4 +4" or as desired

10

O-J

Chest/12

11

O-K

Chest/6 for neck, OM as per fashion,

or as desired

12

J-N

BN-3/4" for shoulder shape

13

N-D

Back shoulder shape, take 0.5"

extra for front shoulder shape

14

P-U+U'

3/4" Fold Pleat

96

FITTED SHIRT

97

FITTED SHIRT

WAIST DART
Sr. No.

Description

J-R

Chest/4 + 1"

E-P

Chest/12 +0.5"

R-R

8" = dart length

R-S

1.5"

T-R

Chest /12 - 1/2

O-A

Full length of sleeve

O-D

Chest/4 -1"

D-C

Chest/12 +0.5", give shape to CO

10

A-F

Chest/6 or half of sleeve opening

SLEEVE

98

FITTED SHIRT

99

CHAPTER 33
NIGHTIE
MEASUREMENTS TO BE TAKEN

Across shoulder

Chest

Length of Nightie 56"

FABRIC REQUIRED
3.25 meters

FRONT
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Total length of Nightie

3.

OB

th of chest

OD

Shoulder drop = "

OE

1/12 th of chest = O C (Neck depth or as required)

EF

Join E F parallel to O C

EC

Join with French curve

8.

DG

of shoulder + "

9.

BH

of chest + 3"

10

GH

Join using French curve

11

AI

14 " or as desired

STEP No.

REFERENCE POINT

DETAILS

OL

"; draw a line parallel to O E

GH

Draw a curve using French curve

3.
SLEEVE

E-P

Draw a curve using French curve

STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OB

Ch/12 + 1"

3.

OA

1/ 12 th of chest + 3"

4.

B B1

of chest + "

5.

A A1

7"

6.

Join B1 O; A1 B1; B2 O; A2 B2

7.

C1 & C2

Mid of O B1 & Mid point of O B2

8.

D1 & D2

Mid of C1 B1 & Mid point of C2 B2

BACK

PLACEMENT OF DORI: 13" form the nape of the neck.

NOTE: Always remember that the armhole of front block is deeper than the armhole of back block.

100

101

CHAPTER 34
NIGHTIE AND GOWN SET (2 piece)
MEASUREMENTS TO BE UNDERTAKEN

Across shoulder

Chest

Length of Nightie 56 in

MATERIAL REQUIRED
3.25 meters for gown
3.0 meters for Nightie

GOWN (BACK)
STEP NO.
REFERENCE POINT
1
O
2
O-A
3
O-B
4
B-H
5
O-D
6
O-E
7
D-G
8
O-L
9
A-I
10
G-H

DETAILS
Starting point
Full length
Chest/4
Chest/4 + 2.5 inch
Drop shoulder = inch
Chest/12 + 0.5 inch
Across shoulder/2 + 0.5 inch
0.5 inch
14 inches or as desired
Shape back armhole

GOWN (FRONT)
STEP NO.
REFERENCE POINT
1
E-C
2
J-A
3
G-H

DETAILS
14 inches
3.25 inches
Shape front armhole

GOWN (SLEEVE)
STEP NO.
REFERENCE POINT
1
O
2
OA
3
OB
4
B B1
5
A A1
6
7
8

DETAILS
Starting point
Sleeve length
Chest/12
of chest = B-B2
Chest/6, equals A-A2
Join B1 O; A1 B1
C1 & C2 Mid of O B1 & Mid point of O B2
D1 & D2 Mid of C1 B1 & Mid point of C2 B2

102

A J

103

Men
ear
Menss W
Wear

104

CHAPTER 35
CHURIDAR PYJAMA
MEASUREMENTS TO BE TAKEN

Waist

Hip

Length of Churidar

Crotch Length
AMOUNT OF FABRIC REQUIRED

2.50 M

2 l + 50 CM.
AMOUNT OF FABRIC REQUIRED

2.50 m

FRONT
STEP No.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.

REFERENCE POINT
O
OB
OC
CD
JK
OH
HI
BA
AG
DJ
OK

DETAILS
Starting point
Total length of churidar 5 in.
Crotch length Hip / 3+2
H 1/3 + 2inch
Knee + 1 inch
H 1/3 + 1inch
1
Hip/2 (for churi)
Bottom
Join D-J
Hip 2+3"

REFERENCE POINT
OA
AB
AC

DETAILS
Hip "
Hip / 24
A B equal

GUSSET
STEP No.
1.
2.
3.

Join B O and O C

105

CHAPTER 36
BENGALI KURTA
MEASUREMENTS TO BE UNDERTAKEN

Chest : 36"

Full length : 36" Across back : 17"

Sleeve length : 24"

Sleeve opening: 9"

Neck : 15"

Shoulder to waist : 16"

MATERIAL REQUIRED

2 lengths of Kurta + 1 sleeve length + 5"

of a 36" width cloth

Front
STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length (ON FOLD)

O-B

Half of across back

O-D=B-C

Chest/4-0.5"

D-E

Chest/4 + 2"

O-K

Length of shoulder to waist

O-J

Chest/3 + 1"button placket

A-G

Chest/4 + 4"

O-M

Neck / 6

O-R

Neck / 6

10

B-J

"

11

J-E

Arm Hole Shape

12

K-L

Chest/4 + 1.5"

13

E-M

Chest/6 + 1"

STEP NO.

REFERENCE POINT

DETAILS

O-R

Neck/6

O-L

Neck/ 2

D-E

Back shoulder shape

STEP NO.

REFERENCE POINT

DETAILS

O-A

Length of sleeve (on fold)

O-B

Chest /4 0.5"

B-C

Chest/12

A-E

Half of sleeve opening

E-F

Side placket opening for sleeve chest/6-1"

BACK

SLEEVE

106

POCKET
STEP NO.

REFERENCE POINT

DETAILS

O-A=B-G

Length of pocket, chest/2

O-B=E-D GF=AC

chest/6

A-G

Turn so that it touches DE

C-F

Will come on fold.

Sewing margins and turning margins at the bottom and sleeve ends should be kept separately.

107

CHAPTER 37
KALIDAR KURTA
MEASUREMENTS TO BE TAKEN

Round neck

Across shoulder

Chest

Length of Kurta: 45"

FABRIC REQUIRED
2.80 meters
ADDITIONAL MATERIAL REQUIRED
4 buttons

KALIDAR (FRONT)
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Total length of Kalidar Kurta

3.

OB

th of chest

4.

OC

1/12 th of chest

5.

OD

Shoulder drop = 1 "

6.

OE

1/12 th of chest; = O C

7.

EF

Join E F parallel to O C

8.

DG

of shoulder & join E G

GI

Straight to bottom

10.

EC

Join using French curve

11

NQ

Mark Q 13" away from the N on the center front line

KALIDAR (BACK)
STEP No.

REFERENCE POINT

DETAILS

OL

"; draw a line parallel to O E

MN

" Parallel & equal from GE; MG & NE perpendicular to GE

NP

Draw a curve using French curve

MI

Straight to bottom

OD

1"Back Neck

STEP No.

REFERENCE POINT

DETAILS

1.

Starting point

2.

OA

Length of the sleeve

3.

AB

6 "/ Chest/4-1"

4.

OD

of chest -3/4TH "

5.

DC

"

DE

1/12 of chest

STEP No.

REFERENCE POINT

DETAILS

X-W

1/12 CH

Y-Z

1/6 CH

W- Y

Full length of kurta chest/4

SLEEVE

KALI

108

GUSSET
STEP No.

REFERENCE POINT

DETAILS

W-Z

7 "

X-Y

5 "

1" above the centre point of XY

POCKET
Pocket opening starts1/6 chest + 1"
NOTE: Always make Kali using the chest line and the base line

109

CHAPTER 38
NEHRU KURTA
MEASUREMENTS TO BE UNDERTAKEN

Chest = 36"

Across shoulder = 18"

Length = 38"

Neck =15

Length of sleeve=24"

MATERIAL REQUIRED

2.5 meter cloth

4 buttons

Buckram

Matching thread

FRONT
STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length = 38"

O-B

Across shoulder/2

B-E

Chest/4, BM 1" below for shoulder shape

D-C

Chest/4 + 2"

A-H

Chest/4 + 4"

O-K

Chest/12

O-N

Chest/12, give shape from N to K

O-I

Chest/3

F-G

Chest/6

10

O-P

15"

11

P-Q

Chest/4 + 1.5"

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length

O-B

Across shoulder/2

B-E

Chest/4

D-C

Chest/4 + 2"

A-H

Chest/4 + 4"

O-K

Chest/12, JK 1

STEP NO.

REFERENCE POINT

DETAILS

O-A

Full length = 24"

O-B

Chest/4, BD chest/12, give shape

C-A

Chest/6 +

Step no.

Reference points

Details

A-C

Full length, chest/2

A-B

Chest/6

BACK

SLEEVE

POCKET

110

BAND
STEP NO.

REFERENCE POINT

DETAILS

D-C

Neck/2 + 0.5" = 15"/2 + 0.5"

B-C

1.25"

Remember to keep sewing margins

111

CHAPTER 39
FULL SLEEVE FORMAL SHIRT
MEASUREMENTS TO BE TAKEN

Round neck (just for reference)

Across shoulder

Chest

Waist

Length of bodice 29"

ADDITIONAL MATERIAL REQUIRED

Collar fusing for collar

Collar fusing for collar band

Collar fusing for cuff

6 buttons for front placket

2 buttons for cuff

AMOUNT OF FABRIC REQUIRED

2.5 m
BASIC SHIRT (FRONT)
STEP No.
REFERENCE POINT
1.
O
2.
OA
3.
OB
4.
OC
5.
OD
6.
OE
7.
EF
8.
DG
9.
BH
10.
HI
11.
GH
12.
EC
13.
XY
BASIC SHIRT (BACK)
STEP No.
REFERENCE POINT
1.
OL
2
L M
3
MH
SLEEVE
STEP No.
REFERENCE POINT
1.
O
2.
OA
3.
OB
4.
B B1
5.
A A1
6.

7.
C 1& C2
8.
D1 & D2
COLLAR & COLLAR BAND
STEP No.
REFERENCE POINT
1.
O
2.
OA
3.
OB
4.
5.
DE
6.
CF

DETAILS
Starting point
Total length of basic shirt
th of chest
1/12 th of chest -3/4"
Shoulder drop = 1 "
1/12 th of chest;- "
Join E F parallel to O C
of shoulder + " & join E G
of chest +1 "
Perpendicular to HB, join till total length
Join using French curve
Join using French curve
2" away, parallel to CA (for placket)
DETAILS
1 in.; draw a line parallel to D - G
Parallel & equal to GD
Draw a curve using French curve
DETAILS
Starting point
Length of sleeve width of cuff
1/ 12 th of chest
of chest, also equal to B B2
1/6 th of chest, also equal to A A2
Join B1 O; A1 B1
Mid of O B1 & O B2
Mid of C1 B1 & Mid point of C2 B2
DETAILS
Starting point
1" (on fold)
of neck + "; also OB = OC
Convert lines OB & OC into curves& blend them as shown in fig.
O A + (on fold)
Customized length & shape

112

113

CHAPTER 40
MENS FLAT FRONT TROUSER
MEASUREMENTS TO BE TAKEN

Waist

Hip

Outer length

Inner length

Knee length

Bottom opening

Total length of trouser : 42"

Crotch = outer inner length

ADDITIONAL MATERIAL REQUIRED

Trouser fusing for waistband

1 button for waistband

1 button for back pocket

1 8" zip

FABRIC REQUIRED

1.20 m
FRONT BLOCK
STEP No.

REFERENCE POINT

DETAILS

1.

Starting point; take measurements from the 1-" mark on the

tape, for length, knee and crotch.

2.

OA

Total length of trouser

3.

OB

Knee length

4.

OC

Crotch length

5.

CD

of hip + 2"

6.

DE

2"

7.

EJ

Perpendicular to CD touching the guide line

8.

Mid point of CD

9.

FG

Extend perpendicular to CD till guide line below

10.

GH

1/4th of bottom opening, also equal to GI

11.

JK

" & join KO

12.

KO

" of waist + "

13.

FM

1/12 th of hip

14.

MN

Join MN and make EN = 1.1"

STEP No.

REFERENCE POINT

DETAILS

1.

CP

"

2.

QP

CD + 2 "

3.

KY

1 "

4.

YS

1 ", join SO

5.

ST

of waist + 1 "

6.

OU

of OC & U touches the back curve

7.

UV

of hip + 1 ; join SV & extend; blend line SV till Q

BACK BLOCK

DART AT CENTRE OF WAIST LINE: 4"X 1"

114

CROSS POCKET BAG

STEP No.
1.
2.
3.
4.
5.
6.
7.
8.

REFERENCE POINT

OA
OB
BC
CD
XE
EF

DETAILS
Make a rectangle 13" X 7" and mark a point O
13"
1"
7 "
2"
1"
"
Make curves as shown in the pattern.

NOTE:
Join XR parallel to front block with leg curve & join RQ with hip curve.
Join LC & TC with hip curve
Join CI with leg curve
WAISTBAND & FLY PIECE
Follow the patterns, as given
POCKET PLACEMENT
FOR FRONT: 2- " from waist & 2" from side. (Width = 4 "& height = ")
FOR BACK: on dart 2-" from waist (width = 4 "& height = ")
For welt pocket cut rectangular block measuring 14" X 5"

115

CHAPTER 41
PANT CUT PYJAMA
Measurement
Hip : 36"
Length : 40"
Crotch : 28"
Bottom opening : 21"
Required material : 2.5 meters

STEP
No.
1

PRFERENCE
POINT
O-A

DETAILS
Full length

O-B

Hip/3 + 1' 1/2

B-C

Hip/3 + 2"

C-D

Hip/12

D -E

1"

B -A

Length of leg

A-I

B/2

G-H

B/2+0.5"

Join till E

BACK
STEP
No.

PRFERENCE
POINT

DETAILS

C-J

Hip/16

K-L

1"

JK1K2KL

H-H'

1"

I-I'

1"

Join giving shape for back crotch

POCKET
STEP
No.

PRFERENCE
POINT

DETAILS

O-A

Hip/3 +1" (on fold)

O-B

Hip/6

B-D

0.5"

C-E'

GH/12

C-G

Hip/12

116

L
K

Front Cut x 2

Back Cut x 2

I
I

I
A

E F

On Fold

Cut x 2

117